diff --git "a/scripts/Knives Out.txt" "b/scripts/Knives Out.txt" new file mode 100644--- /dev/null +++ "b/scripts/Knives Out.txt" @@ -0,0 +1,7041 @@ + 1. + + + + +1 EXT. THROMBEY ESTATE MANOR HOUSE - DAWN 1 + + The grounds of a New England manor. Pre-dawn misty. + + +2 INT. MANOR - PANTRY - LIVING ROOM - FOYER - HALLWAY - DAWN 2 + + INSIDE THE MANOR + + Unlit and still. Gothic with a theme of antique games, + arcane puzzles and decorative weapons. + + First floor: A drawing room, living room, kitchen. The + detritus of a party. Stray champagne flutes. + + +3 INT. THROMBEY ESTATE - 2ND FLOOR - DAWN 3 + + Follow one housekeeper named FRAN carrying a tray of coffee + up a flight of stairs. + + Second floor: a hallway, doors all closed. The house has + not woken up, and Fran steps lightly. Up a much narrower + creaky flight of steep stairs. + + +4 INT. THROMBEY ESTATE - 3RD FLOOR MASTER BEDROOM - DAWN 4 + + Third floor: the master bedroom suite. + + FRAN + Morning Mr Thrombey + + But the bed is empty, unslept in. A robe thrown across it. + + Fran heads out onto the landing and UP an EVEN NARROWER + half flight of stairs, which leads to a single door. + + FRAN + Mr Thrombey you up there? Mr + Thrombey I'm coming in + + +5 INT. HARLAN THROMBEY'S STUDY - DAWN 5 + + A cramped attic study, every shelf crammed with curios. + + The door swings open and Fran sees: + 2. + + + HARLAN THROMBEY himself. 85 years old. Slung across a white + leather day bed. + + Throat slit. Drenched in blood. Very much dead. + + Fran's tray slips out of her hands for a second. + + FRAN + Shit. + + CUT TO: Title card, on black. + + THEN TO: + + +6 INT. MARTA'S BEDROOM - MORNING 6 + + MARTA CABRERA wakes with a cry. + + Plain, modern, cramped. Marta, in her late twenties, takes + a moment to catch her breath. Opens a window. + + +7 EXT. SOUTH BOSTON HOUSING PROJECT - MORNING 7 + + A tiny window in a cheap apartment building opens, Marta's + face appears breathing deep. + + SUPER: "ONE WEEK - after Harlan Thrombey's demise" + + +8 INT. CABRERA KITCHEN - MORNING 8 + + Marta sits in front of a laptop. Her MOM is at the table + with her, her sister ALICE watches CSI on an iPad on the + counter top. Murder related dialog from the show. + + Marta scroll through a jobs site, tired, eyes dead. Her mom + watches, concerned. + + MOM + Alice, turn that off now. + + ALICE + Why it's almost over, what - + they're finding out who did it and + the wifi sucks in my room so it + doesn't play it's like two minutes + left what there isn't even anything + bad on it, it's just normal tv and + they're just talking ok ok goddddd + whatever ok whatever. + 3. + + + MOM + Now please just turn it off. Turn + it off. Now. Alice. Off. They're + talking about murder on it, your + sister just had a friend she loves + slit his throat open she doesn't + need to be hearing that right now + let's be sensitive! + + Mom standing yelling, Alice slams the iPad cover closed. + + Marta puts her head in her hand. Looks at her mom, who + looks back at her with protective sympathy. Marta starts + laughing at the absurdity of it, but the laugh turns into + crying. + + MARTA + Alice you can keep watching your + show it's alright. + + ALICE + No, I guessed who did it anyway. + I'm sorry Marta. + + Alice hugs her sister. Marta's phone rings. WALT THROMBEY. + + MARTA + It's Harlan's son. + (answers) + Hi, Walt. + (listens) + Uh huh. + + Her face shifts in confusion. + + MARTA + What? + + +9 EXT. PRIVATE ROAD - LATE MORNING 9 + + A long narrow private road leading to the Thrombey estate. + + Marta's shitty SUBCOMPACT car buzzes by, towards the house. + + +10 EXT. THROMBEY ESTATE FRONT DRIVE 10 + + Several cars, including a police cruiser with a few + uniformed officers by it. Marta pulls up. An officer eyes + her, approaches. + + COP + 4. + + + Hey! Excuse me ma'am. Are you with + the help? + + MEG, Thrombey's college aged granddaughter, trots out. + + MEG + Hey! Her name is Marta, she was + granddad's nurse, she's with us. + "The help?". + + MARTA + (to the cop) + It's ok, sorry. + + MEG + (mutters) + No. It's not ok. What the hell? + + They hug, and are both instantly crying. They laugh. + + MARTA + Not very good. Alone, lots of just, + this + (the crying) + and not knowing what to do next. + + MEG + Anything you need, you're part of + this family Marta. + + MARTA + Thank you. + + +11 INT. FOYER 11 + + Thrombey's eldest daughter Linda opens the door for Marta. + + LINDA + How you doing kiddo. + + Linda is 60ish, well put together, sharp and steely eyed. + + She dresses and speaks with just a little more sharpness + than any situation she's in requires. + + MARTA + Hi Linda. How are you? + + LINDA + 5. + + + Ueuh. The funeral helped. I guess. + Just seeing him. I thought you + should have been there. I was out + voted. + + Linda's husband Richard walks in, on the phone. Same age as + Linda, gruff and confident, will put his feet up on + anything. + + RICHARD (ON PHONE) + I'm not the cop so I don't know. + Alright fine, don't come, get + arrested. Die up your own ass all I + care. + (hangs up) + He's not coming. + + RICHARD (ON PHONE) + (to Marta) + Ransom. Little shit. Missed the + funeral. + + STATE TROOPER WAGNER, fresh faced in his 30s, pokes his + head in through a door. + + TROOPER WAGNER + Excuse me, we're ready for you now, + we'd like to see you one at a time. + + LINDA + Alright I'll go first. I'm assuming + this will all be wrapped up before + the memorial tonight. + + TROOPER WAGNER + We'll do our best ma'am. + + Linda exits with Wagner, leaving Richard and Marta. + + RICHARD + So. How you doing kiddo. + + +12 INT. LIBRARY 12 + + Mystery and horror memorabilia scattered on the shelves. + + Linda sits opposite three men: LIEUTENANT ELLIOTT, in his + 30s, in a working suit. Very good at his job. The young + Trooper Wagner stands behind him. + 6. + + + Sitting back behind both of them, almost blending into the + background, is a slight man in a linen suit. Legs and arms + fold sharply, like a paper crane. Silent, listening. + + LIEUTENANT ELLIOTT + We are just going to reintroduce + ourselves as a formality, I'm + Detective Lieutenant Elliott, and + this is Trooper Wagner. Now, I'm + going to record, just makes it + easier. + (squints at his phone) + Alright, we're with Linda Drysdale, + nee Thrombey, Harlan Thrombey's + eldest daughter, in discussing the + events the night of his demise, one + week ago, November 8th. + + TROOPER WAGNER + We're sorry for your loss. + + LINDA + (dry as chalk) + Thank you that means a lot. + + Elliott checks his notes. + + LIEUTENANT ELLIOTT + So we understand that night the + family had gathered to celebrate + your father's eighty fifth + birthday. + + LINDA + Yes. + + LIEUTENANT ELLIOTT + How was that? + + LINDA + The party? Pre my dad's death? It + was great. + + +13 INT. LIVING ROOM - NIGHT OF THE PARTY - FLASHBACK 13 + + Warmly lit, classic rock playing, food laid out. Linda and + Richard mingle happily with the rest of the family (who + we'll meet shortly.) + + LIEUTENANT ELLIOTT (V.O.) + Did anyone besides the family show + face? + 7. + + + LINDA (V.O.) + Uh. There was Fran, the + housekeeper. Marta, Harlan's + caregiver, good girl, hard worker. + Family's from Ecuador. And Wanetta + - Greatnana, Harlan's mom. + + At the snack table wearing a dozen coats, a woman who might + be three hundred years old. She pounds down chips and dip + like a machine. + + LIEUTENANT ELLIOTT (V.O.) + (wow) + His mom? How old is she? + + LINDA (V.O.) + We have no idea. + + LIEUTENANT ELLIOTT (V.O.) + Okay, Your son Ransom, was he there + as well? + + LINDA (V.O.) + Yes but he left early. + + RANSOM DRYSDALE, roguishly handsome in his early 30s, + breezes out the side door, past Greatnana. + + GREATNANA + Ransom, are you leaving? + + +14 INT. LIBRARY 14 + + The strange man in the linen suit taps a piano key, as if + reminding to ask him something. + + LIEUTENANT ELLIOTT + Right, did all three of you show up + at around the same time? + + LINDA + N...o, Richard came early to help + the caterers set up. + + She raises a questioning finger to ask about the man but + + LIEUTENANT ELLIOTT + Okay and you and your husband + Richard work for a real estate firm + in Boston? + + LINDA + 8. + + + (sharp) + It's my company. + + LIEUTENANT ELLIOTT + (checks notes) + Sorry. Right. + + LINDA + I built my business from the ground + up. + + LIEUTENANT ELLIOTT + Just like your dad. You two were + very close? + + LINDA + We had our own secret way of + communicating. You had to find that + with dad. You had to find a game to + play with him. And if you did that, + and played by his rules... + + CUT TO: Richard in the chair Linda was in, giving his + statement. + + RICHARD + Everyone idolizes their dad, right? + + LIEUTENANT ELLIOTT + I don't know, do they? + + RICHARD + Very much not, don't know why I + said that. But Linda does. + + +15 INT. LIVING ROOM - NIGHT OF THE PARTY 15 + + Harlan Thrombey, surrounded by his family, Richard and + Linda flanking him, a birthday cake with candles. All + smiles. + + RICHARD (V.O.) + Harlan started with a rusty Smith- + Corona, built himself into one of + the bestselling mystery writers of + all time. + + +16 INT. LIBRARY 16 + + LIEUTENANT ELLIOTT + 9. + + + Seems like all his kids are self + made overachievers. + +Richard makes a "...sure" face. + + RICHARD + Sure. + + CUT TO: + +WALT THROMBEY now sits in the questioning chair. Late 40s, +softly obsequious in a sweater and loafers. His leg is in a +cast. + + LIEUTENANT ELLIOTT + For the record, I'm speaking to + Walt Thrombey, Harlan Thrombey's + youngest son. + + LIEUTENANT ELLIOTT + So you run your father's publishing + company? + + WALT + Yeah. It's my - it's our, it's the + family's publishing company, dad + trusts me to run it. 30 languages, + over 80 million copies sold. A real + legacy. You guys fans? + + LIEUTENANT ELLIOTT + I don't do much fiction - + + TROOPER WAGNER + BIG fan. Big. + + TROOPER WAGNER + His plots, like something like "A + Thousand Knives," with the - I + don't want to spoil it but - the + cow and the shotgun, like where do + you come up with that? + + WALT + Dad said the plots just popped into + his head fully formed, that was the + easy part for him - + +TAP from the linen suit man's finger. + + LIEUTENANT ELLIOTT + 10. + + + You live in town, right? You guys + probably arrived at around the same + time? + + Walt looks at Linen suit, thrown. + + WALT + Uh. We all got here around 8. + + +17 INT. LIVING ROOM - NIGHT OF THE PARTY 17 + + Walt laughing and mingling with his nervous wife DONNA. + + WALT (V.O.) + My wife Donna, she's my rock. + + Richard backs up into Donna, who YELPS in fear and throws + her martini in the air. Richard jumps, but Walt doesn't + even register it. + + RICHARD + Jeeesus! Donna, you alright? + + WALT (V.O.) + And my son Jacob, he's sixteen. + Very politically active. + + His angry looking son JACOB, who is always on his phone. + + +18 INT. LIBRARY 18 + + Quick cuts, each in the chair: + + RICHARD + The boy's literally a Nazi + + MEG + He's an alt-right troll dipshit + + WALT + Kids today, with the internet, + amazing. + + LIEUTENANT ELLIOTT + So the night went well? + + +19 INT. LIVING ROOM - NIGHT OF THE PARTY 19 + 11. + + + The exact same moment we saw with Richard and Linda of + Harlan in front of the birthday cake - but now it's Walt, + Donna and Jacob next to Harlan. + + WALT (V.O.) + I mean. We're all gutted but I'm + happy we got that night with him. + To be by his side, to think about + our books and what we've + accomplished with them, it's like I + can still feel his hand on my + shoulder. + + +20 INT. LIBRARY 20 + + WALT + Passing the torch. + + Cut to: JONI THROMBEY in the chair. A striking woman, tall + and boho chic in chunky jewelry and a flowy dress. + + LIEUTENANT ELLIOTT + So we are with Joni Thrombey, + Harlan Thrombey's... daughter in + law? + + JONI + Mm. I was married to his son Neil, + We had one daughter, Meg, and then + Neil passed on fifteen years ago. + + LIEUTENANT ELLIOTT + And you remained close to the + Thrombeys. + + +21 INT. LIVING ROOM - NIGHT OF THE PARTY 21 + + Joni dances with various family members, free and flowing. + + JONI (V.O.) + Oh they're my family. I feel + simultaneously freed by and + supported by them, that balance of + opposites is the nugget of Flam. + + +22 INT. LIBRARY - PRESENT 22 + + LIEUTENANT ELLIOTT + Sorry, the Nugget of? + 12. + + + JONI + Flam. + + LIEUTENANT ELLIOTT + Ah! Yeah Flam, right, your skin + care company. Sorry. + + JONI + I forgive you, yes, it's skin care + but it promotes a total lifestyle. + Self sufficiency with an + acknowledgment of human need. + That's Flam, but it's also Harlan. + He got me and Meg through some + tough times. + + Meg in the chair. + + MEG + Granddad gives my mom a yearly + allowance, and he's never missed + wiring a tuition payment to my + schools. He's a genuinely selfless + man. + + LIEUTENANT ELLIOTT + You left his party early? + + MEG + To see some friends at Smith. + + +23 INT. LIVING ROOM - NIGHT OF THE PARTY 23 + + Meg trots out. Linda, pissed, to Richard so Joni can hear: + + LINDA + you know, Dad's paying for her + crypto-Marxist postdeconstructual + feminist poetry theory whatever + major, she could have stuck around + for the cake. + + +24 INT. LIBRARY 24 + + JONI + I think Linda was upset. But Harlan + understood. + + Tap. + + LIEUTENANT ELLIOTT + 13. + + + Right. You two arrived together to + the party at the same time? + +Joni looks at the linen suit man. + + JONI + If I could - pause - because I, who + is that guy? And why are we doing + all this? Again? + + LIEUTENANT ELLIOTT + Just some follow up questions, just + being thorough, in order to + determine the manner of death. + +Cut back to Walt in the chair. + + WALT + (almost laughing) + So by "manner of death" you mean if + he was killed. If one of us killed + him. One of his family? + + LIEUTENANT ELLIOTT + None of us think that, this is pro + forma, all of it. + +CUT TO: Richard in the chair. He doesn't buy it. + + RICHARD + Ok. So who the fuck is that? + +He points at linen suit. Elliott takes a breath. + + LIEUTENANT ELLIOTT + This is Benoit Blanc. + + RICHARD + (the hell?) + Benoit Blanc? + + LIEUTENANT ELLIOTT + Yes. Mr. Blanc is a private + investigator of great renown. + +Joni in the chair. + + JONI + Wait a minute - I read a tweet + about a New Yorker article about + you. The last of the gentlemen + sleuths? You solved that case with + the tennis champ - you're famous! + 14. + + + LIEUTENANT ELLIOTT + Mr. Blanc is not with the police + department, he is not officially + involved with the case but he has + offered to consult. I happily + obliged and I can vouch for him. + +Linda in the chair. + + LINDA + Mr. Blanc, I know who you are, I + read your New Yorker profile. It + was delightful. I just buried my + eighty five year old father who + committed suicide. Why are you + here? + +Elliott and Wagner turn back to Blanc, who leans forward +slightly and speaks in the gentlest southern lilt you have +ever heard in your life. + + BLANC + I am here at the behest of a + client. + + LINDA + Who? + + BLANC + I cannot say, but let me assure you + this: my presence will be + ornamental. + + BLANC + You will find me a respectful, + quiet, passive observer. Of the + truth. + +Elliott and Wagner turn nervously back to Linda. She +doesn't look thrilled. Cut to Richard. + + RICHARD + Fine. Are we getting there? + + BLANC + Nearly. Harlan's nurse. She was at + the party in a professional + capacity? + +Blanc begins idly playing with a silver dollar. + + RICHARD + Marta? + 15. + + +25 INT. LIVING ROOM - NIGHT OF THE PARTY 25 + + The family is engaged in an animated discussion, Marta + standing on the outskirts. + + RICHARD (V.O.) + I guess. Harlan hired her to be + around, take care of whatever + medical needs pop up, but really + she's like part of the family. + + Richard beckons with his cake, calls Marta into the + discussion, into the circle of the family. + + RICHARD (V.O.) + Good kid, been a good friend to + Harlan. Her family's from Paraguay. + Linda really likes her work ethic. + + +26 INT. LIBRARY 26 + + RICHARD + "Immigrants - we get the job done." + From Hamilton. + + Wagner gives him a smile to show he got the reference. + + TROOPER WAGNER + Oh Hamilton! + + RICHARD + I saw it at the public. + + Cut to Linda back in the chair. + + BLANC + May I just - and then I'll recede, + but as a self made man myself I + have to express my admiration for + how you've followed in your + father's footsteps. + + LINDA + Thank you. + + BLANC + Just marvelous. The whole family + too. Joni with her things, Walt + with his publishing empire. + + LINDA + Well. + 16. + + +Blanc pauses. Doesn't push anything. Just waits a moment. + + LINDA + Yes. I mean. Walt, yeah. He's done + well with what dad's given him. + Walt - not like it matters but he + was sort of adrift, dad gave him + the job, but really dad hands him a + book twice a year and Walt + publishes it, I mean... it's just + not the same. + + BLANC + But surely Walt runs the + merchandising, adaptations, film + and television rights... + +Linda squints, narrowing her eyes on Blanc. Softly: + + LINDA + Are you baiting me, Detective? You + know he doesn't, and you think I'm + dumb enough to be baited into + talking family business, into shit + talking my brother in front of a + police detective and a state + trooper - + +Richard in the chair. + + RICHARD + Walt doesn't run shit! There are no + film or TV rights, Harlan's never + allowed any adaptations of his + books. Hates the idea. + + BLANC + No! + + RICHARD + Oh yeah! Drives Walt nuts, cause + that's where the real money's at. + When he gets a little Irish courage + in him he'll get into it with + Harlan. + + BLANC + Did he get "into it" at the party? + + RICHARD + Oh my god. + 17. + + +27 INT. LIVING ROOM - NIGHT OF THE PARTY 27 + + Walt with a drink in his hand has cornered Harlan. Richard + watches across the room as Walt goes from arguing to + pleading. + + RICHARD (V.O.) + He wouldn't leave him alone, poor + guy. Harlan had to give him the + hook. + + Harlan has had enough, he takes Walt's arm and leads him + into the drawing room for a private talk. + + RICHARD (V.O.) + I didn't hear what he said but he + must have really handed him his + lunch, Walt was like a wounded + puppy the rest of the night. + + +28 INT. LIBRARY 28 + + Walt in the chair, indignant. + + WALT + What? Richard said what? Jesus. No, + we didn't get "into it." + + BLANC + I'm just trying to get an accurate + impression - Harlan took you aside + at the party, when you returned you + were chastened, what did Harlan say + to you? + + Walt starts to open his mouth, hesitates. Off his + frightened face we FLASH BACK: + + +29 INT. DRAWING ROOM - NIGHT OF THE PARTY 29 + + Walt, drunk, Harlan guiding him firmly into the shadows. + + WALT + The Netflix guys, their business + affairs guy sent over something, + hard numbers this time, and I think + - this is a window, it's not Walt. + going to last and you should just + look at these numbers + + HARLAN + 18. + + + Walt. Walt. + + WALT + Dad you put me in charge of our + books let me be in charge, let me + do this! Please. + + HARLAN + They're not our books, son. They're + my books. And this is not how I + wanted to have this conversation + but, you're right, it's unfair of + me to keep you tethered to + something that isn't yours to + control. + + WALT + What? + + HARLAN + I've done you a grave disservice + all these years, I've kept you from + building something of your own, + that's yours. You're not going to + run the publishing house anymore. + You are free of it. + + WALT + Dad. Are you firing me? + + HARLAN + We'll talk about details tomorrow. + But my mind's made up. Good boy. + + Harlan pats his face, then leaves him shell shocked. + + +30 INT. LIBRARY 30 + + Back to Walt's hesitating face. The briefest of moments has + passed. Walt lies: + + WALT + We talked, we had a business + discussion, about e-books, Jesus, + it was nothing. You want to talk + about an argument, hell Ransom had + an argument with him. + + BLANC + Ransom, Richard and Linda's son? + + WALT + 19. + + + Look we love Ransom, he is a good + kid, we love him. + + BLANC + ...but + + WALT + But he's always been the black + sheep of the family, and I'm not, + I, I keep stuff like this in the + family, but with Ransom, he's never + had a job. But dad for some unknown + reason has always supported him, + they've got this love hate bond. + They fight. But that night, god. + They had a blow out. + + BLANC + About what? + + +31 INT. LIVING ROOM - NIGHT OF THE PARTY 31 + + The family having a conversation, everyone but Harlan, + Jacob and Ransom. It grinds to a halt as through the door + to Harlan's study indistinct shouting booms. + + WALT (V.O.) + We couldn't make it out, but it was + huge. And it was strange they went + in another room to do it - they + usually love stoking up drama in + front of the whole family. + + Ransom bursts out of the doors and storms out of the party, + past Greatnana. + + GREATNANA + Ransom are you leaving? + + +32 INT. LIBRARY 32 + + Richard in the chair. + + BLANC + Speaking of getting into it, you + were at the house early to help the + caterer set up. Did you converse + with Harlan at that time? + + RICHARD + He was there, we must have spoke. + 20. + + + BLANC + In his study? + + RICHARD + I don't think so. + + BLANC + You see, I spoke with the caterer + this morning. She didn't see you + helping her staff, but she did hear + Harlan in a screaming match with + someone that afternoon. In his + study. + + RICHARD + I don't, a screaming match? No. + Joni was here too, she was early, + maybe it was her, ask her. + + BLANC + These were two male voices. + + +33 INT. HALLWAY - DAY OF PARTY 33 + + A CATERER walks through with a platter. Pauses, hears + shouting through the wall. + + BLANC (V.O.) + Harlan shouted the phrase + + HARLAN (O.S.) + ...you tell her or I will! + + +34 INT. LIBRARY 34 + + BLANC + You tell her. Or I will. Bells + ringing? + + For a just a split second, Richard considers what he is + going to say. In the second, we FLASH BACK: + + +35 INT. SMALL STUDY - DAY OF PARTY 35 + + Harlan showing Richard photos on a laptop. Long lens + photos, of Richard kissing a woman who is not Linda. + + Richard glares at it, Harlan turns an old baseball over in + his hands. + 21. + + + RICHARD + That's none of your business, + Harlan. Stay out of my marriage. + + Harlan holds up a sealed small envelope with flowery + embroidery, "L" written on the front. + + HARLAN + I know my daughter. She'd want to + know. I've put it all in this + letter to her, tomorrow she gets + it. + + RICHARD + I'm warning you once, don't do this + like hell - + + HARLAN + She deserves to know, you're going + to tell her! + + Harlan slams the baseball down on the desk. + + HARLAN + You tell her or I will! + + +36 INT. LIBRARY 36 + + Back to Richard. He grins, snaps his fingers. + + RICHARD + Yes. I know - yes, ha. So. Harlan + decided to finally put his mom in a + nursing home. Which Linda always + opposed. And I was going to wait + till we were back home in Boston to + tell her, so there wouldn't be a + whole scene, but Harlan wanted me + to tell her then. That was it. + Sorry. Forgot. + + Joni in the chair. + + JONI + The house? + + BLANC + Early. Richard said you were there. + + JONI + I was. At the house early. + 22. + + + BLANC + To see Harlan? + + JONI + To see Harlan. Yes. + + Joni stops, smelling something in the air. She's about to + ask about it but - + + BLANC + What were you seeing Harlan about? + + JONI + It was just a mix up with the + payment for Meg's tuition. + + BLANC + I'm sorry to press, what kind of + mix up? + + Joni hesitates, we FLASH BACK: + + +37 INT. SMALL STUDY - DAY OF PARTY 37 + + Harlan at his desk, toying with the same old baseball. This + is a thing he does at his desk. Joni standing, arms + crossed. + + JONI + The school hasn't got the check + yet, I don't know why Alan didn't + mail it + + HARLAN + Alan didn't mail it because he + caught a discrepancy. Alan's office + has been wiring tuition directly to + the school, as per your request. + But Phyllis's office that handles + your yearly allowance has been + wiring the tuition money directly + to you as well. As per your + request. You've been double dipping + Meg's tuition, stealing from me. A + hundred thousand dollars a year. + For the past four years. + + Harlan shows Joni a letter from his business manager, with + transaction receipts attached. + + JONI + 23. + + + Harlan. I don't know how this mix + up happened but + + Harlan opens his ledger, hand writes a check. + + HARLAN + I'm writing this tuition check, + then that is the last money you or + Meg will get from me. + + JONI + Please you don't understand + + HARLAN + I know it'll hurt but it's for the + best. + + Joni's speechless, her face frozen. Harlan puts the + baseball down and detaches the check, holds it out to her. + + HARLAN + My mind's made up. + + +38 INT. LIBRARY 38 + + Back to Joni. She shakes her head. + + JONI + Just a money wiring issue. With the + office at the school. So I had to + ask Harlan to cut a check for this + semester. No big deal. + + LIEUTENANT ELLIOTT + Why don't we take a breather. + + +39 INT. FOYER - DAY 39 + + Joni comes out into the foyer from the library, obviously + rattled. She pulls it together quick when Linda comes down + the stairs. + + LINDA + Joni. You haven't seen Richard have + you? + + JONI + No, I was just in with the - no. + + +40 INT. SMALL STUDY 40 + 24. + + + LINDA (O.S.) + Richard! + + Alone, Richard waits very still for Linda's footsteps to + walk away, then when he knows she's not coming in he + furtively rifles through desk drawers, finding various + ridiculous ephemera. He finds a small locked drawer, + jimmies it open with a letter opener. + + Inside - the small pink envelope Harlan threatened him with + in his flashback. He rips it open, pulls out the card + inside. + + It is blank. + + Richard almost laughs. Drops it onto the desk. + + RICHARD + Son of a bitch. + + He spots Harlan's old baseball. Grabs it, spitefully chucks + it out the open window. + + +41 EXT. SIDE OF HOUSE - DAY 41 + + Blanc, Elliott and Wagner stroll long the wide lawn beside + the house. Blanc ignites a long thin cigar. + + LIEUTENANT ELLIOTT + Maybe I'm a victim of my own + expectations. But when the great + Benoit Blanc knocks on my door, I + expect it's going to be for + something... if not extraordinary, + at least interesting. This is an + open and shut case of suicide. + (checks watch) + And Benny we're at the point where + I need to know what we're doing + here. + + Blanc notices the OLD BASEBALL lying in the grass. He picks + it up idly. + + BLANC + The method, throat slit. Typical of + a suicide? + + LIEUTENANT ELLIOTT + Dramatic. But look around. The guy + practically lives in a CLUE board. + 25. + + +42 INT. FOYER 42 + + Marta sits alone, across from a portrait of Harlan. Muffled + voices out on the patio. Cigar smoke drifts by outside. + + She creeps over to the glass door. Puts her ear to it. + + LIEUTENANT ELLIOTT (O.S.) + You ask me to drag all these good + people back for questioning, go + over it all again, I don't get it. + This is a pleasant family with the + usual quarrels but no possible + motives for murder - where are you + going? + + At that moment, BLANC's face appears right next to Marta's + staring right at her through the distorted glass. She yelps + and falls back. + + +43 EXT. PATIO 43 + + Blanc opens the glass door. Marta steps back sheepishly, + but with a warm nod Blanc beckons for her to join them. + + BLANC + Harlan Thrombey's nurse, Marta... + + MARTA + ...Cabrera + + BLANC + Marta Cabrera. + + TROOPER WAGNER + Miss Cabrera, you can just wait + inside - we'll be with you soon. + + BLANC + Miss Cabrera, I been doing a little + poking, you're hired on a part time + basis as a registered nurse, yes? + + MARTA + Yeah, I don't work for a VNA. + Harlan hired me directly. + + BLANC + You're paid a flat rate for how + many hours a week? + + MARTA + 26. + + + I started at 15, but slowly he... + needed more help. + + BLANC + Medical help? + + MARTA + He needed a friend. + + Blanc smiles at the girl, genuinely touched. + + BLANC + Does having a kind heart make you a + good nurse? + + LIEUTENANT ELLIOTT + Blanc. + + BLANC + Yes. Marta we were just discussing + possible motives in the family. I + suspect Harlan has told you much + unfiltered truth about each of + them, and a little bird has told + me, how shall I put this + delicately? You have a regurgitive + reaction to mistruthin'. + + MARTA + Who told you that? + + BLANC + Is it true? + + MARTA + Yes. It's something that I have had + as a kid. It's a physically thing + that I - I - Just the thought of + lying, yeah, it makes me puke. + + BLANC + Really? Is Richard having an + affair? + + Marta is stunned. She FLASHES BACK TO: + + +44 EXT. PATIO - DAY - FLASHBACK 44 + + She reads, Harlan sits at his laptop, heavy with sadness. + + HARLAN + 27. + + + Why do men instinctively pull at + loose threads on their parachutes? + + MARTA + What? + + Harlan spins his laptop towards her - the Richard photos. + + +45 EXT. PATIO - DAY 45 + + Back to our scene. Marta looks queasy, tries to stall. + + MARTA + Heh - Richard? - affair? Heh. + + BLANC + A yes or no will do. + + She struggles, her jaw clenched, face working hard, then + attempts - + + MARTA + .....no + + And immediately VOMITS into a nearby planter. + + LIEUTENANT ELLIOTT + Whoa! + + TROOPER WAGNER + Oh my god! + + They all rush to her, Blanc brings water, awfully + concerned. + + BLANC + Dear girl I'm sorry. I assumed you + were speaking figuratively. + + Blanc takes the shortest acceptable beat of concern before + turning to Elliott. + + BLANC + Quite something. But I was + obviously right, Richard is having + an affair, his father in law found + out and confronted him. "You tell + her. Or I will." + + LIEUTENANT ELLIOTT + Even if it's true... you ok? + 28. + + + Marta gives a weak thumbs up, recovering + + ELLIOTT + Even if that was right, protecting + his marriage is weak sauce as a + motive. + + BLANC + Well. And then there is... Joni. + + LIEUTENANT ELLIOTT + Joni? + + TROOPER WAGNER + Joni?! + + TROOPER WAGNER + Lifestyle guru Joni? No. Harlan was + supporting her and her daughter, + she had the opposite of a motive. + + Marta tries to quietly slip back into the house + + BLANC + And if that support was threatened? + Miss Cabrera one moment please + + MARTA + I'm just going to go get some Scope + + BLANC + Miss Cabrera, was Harlan planning + on cutting off Joni's allowance? + + Off Marta's "oh god no" face: + + +46 INT. STUDY - DAY - FLASHBACK 46 + + Harlan looking at the letter from his business manager, + with the transaction receipts. He sighs heavily. + + HARLAN + Oh, Joni. + + MARTA + What's up? + + He hands her the letter. + + +47 EXT. PATIO - DAY 47 + 29. + + +Marta's face works against impending nausea. + + MARTA + I... + + LIEUTENANT ELLIOTT + Ok don't answer that if you're + going to puke. Please. + +But Blanc presses. + + BLANC + Meg said Harlan pays the school + directly, Joni says he sends the + money to her. Both were true, she + was pocketing the double payment, + Harlan found out and cut her off + without a cent. Yes? + +Marta starts to shake her head no, but her throat +convulses. + +She nods. Blanc hands her a glass of water. + + TROOPER WAGNER + And she bumps him off for the + inheritance? Come. On! Have you + seen her insta? She's an + influencer. + + LIEUTENANT ELLIOTT + An allowance as a motive, Blanc. + She has her business. More weak + sauce. + +Blanc idly scratches a spot on the side of his neck. + + BLANC + Granted. But she lied. To me. All + three of them did. + + LIEUTENANT ELLIOTT + Three? + + BLANC + Walter. + + LIEUTENANT ELLIOTT + I see where you are going with + this. + + BLANC + 30. + + + But there was something else. + Harlan had turned Walter down + before regarding film rights, but + that night something Harlan said + shook him. We look at the pattern, + Harlan was cleaning house. I + wonder... + (to Marta) + did he plan to fire Walter? + + MARTA + (honest & relieved) + Can I wait inside? I don't feel + like I should be here. + + LIEUTENANT ELLIOTT + Yes, please just wait inside but + stay close. + +She steps back in, grateful. Blanc to Elliott: + + BLANC + You've been very patient my friend, + and you are right, none of these + weak alibis and domestic squibbles + answer your question: why is Benoit + Blanc here? But now I will tell you + why. + (beat) + I am here because this morning + someone dodged one very important + question. + + LIEUTENANT ELLIOTT + Who? + + BLANC + Me. Linda asked who hired me. + + LIEUTENANT ELLIOTT + So who hired you? + + BLANC + I. Do. Not. Know. An envelope of + cash showed up at my apartment + yesterday, with the news clipping + of Thrombey's death. + + TROOPER WAGNER + An envelope? That worked? + + BLANC + An envelope of cash. + 31. + + + Blanc indicates with his fingers - several inches thick. + + BLANC + So somebody suspects foul play, but + goes through this ha cha dance of + hiring me, of staying anonymous. It + makes no damn sense. Compels me + though. + + BLANC + (beat) + Walk me through everyone's + whereabouts at the time of death. + + Elliott hesitates, but Blanc's got him hooked. He flips + open his notebook. Blanc leans back, closes his eyes. + + LIEUTENANT ELLIOTT + We know, the party broke up at + 11:30. + + +48 INT. SECOND FLOOR LANDING - NIGHT OF PARTY 48 + + Marta and Harlan vanish up the stairs towards the third + floor, while Richard and Linda head into the bedroom right + next to the stairs. Down the hallway Joni waves, and ducks + into another bedroom. + + LIEUTENANT ELLIOTT (V.O.) + Marta took Harlan upstairs to give + him his meds, Richard and Linda and + Joni went right to bed. Now we do + have this: the stairs leading up to + Harlan's bedroom and his attic + office creak horribly. + + +49 INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF THE PARTY 49 + + Richard sleeps deep, Linda sleeps lightly. + + LIEUTENANT ELLIOTT (V.O.) + And Linda is a light sleeper. So we + know every time someone took the + stairs that night. + + +50 INT. JONI AND MEG'S GUEST ROOM - NIGHT OF PARTY 50 + + Joni has decorated the room with colorful silks and + candles. + 32. + + + She is in lotus position on her bed, meditating. + + LIEUTENANT ELLIOTT (V.O.) + The first was when Joni heard a ka- + THUNK from somewhere above her in + the house. + + Ka-THUNK! Joni looks up at the ceiling. + + +51 INT. SECOND FLOOR LANDING - NIGHT OF PARTY 51 + + Joni trots down the hall and up the creaky stairs. + + LIEUTENANT ELLIOTT (V.O.) + She's concerned about Harlan, she + went up to investigate. Waking + Linda. + + +52 INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY 52 + + CREAK CREAK CREAK! From outside. Linda's eyes pop open. + + +53 INT. THIRD FLOOR LANDING - NIGHT OF PARTY 53 + + Joni knocks on the door of Harlan's attic office. It opens, + and Harlan answers. In the room behind him we see Marta, + her back turned, preparing a hypo needle. + + LIEUTENANT ELLIOTT (V.O.) + Harlan was in his attic office with + Marta. He explained that they had + just knocked the GO board over - + that game with the grid and stones, + they play it every night, and he + was fine, go to bed. So she does. + + The spilled GO board on the floor. Joni kisses Harlan on + the cheek, goes. He shuts the door. + + +54 INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY 54 + + Linda has just gotten back to sleep. + + LIEUTENANT ELLIOTT (V.O.) + Ten minutes later, Linda is woken a + second time, by Marta leaving. + + CREAK CREAK CREAK! Linda wakes, supremely annoyed. + 33. + + + MARTA (O.S.) + Walt! I'm leaving! + + +55 EXT. FRONT PORCH - NIGHT OF PARTY 55 + + Walt and Jacob sit on the porch, Walt with a cigar, Jacob + with his phone. Marta trots through, saying goodbye. + + LIEUTENANT ELLIOTT (V.O.) + Walt was smoking a cigar on the + porch with his son. He saw her + leave and drive off, and noted the + time - midnight. + + Walt glances at his watch. Midnight. + + +56 INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY 56 + + Linda with a pillow over her head. + + LIEUTENANT ELLIOTT (V.O.) + Fifteen minutes later, Linda is + woken for the third and final time. + By someone coming down the stairs. + + CREAK CREAK CREAK! Linda wakes. You've gotta be kidding me. + + +57 EXT. FRONT PORCH - NIGHT OF PARTY 57 + + Walt, still smoking with Jacob, spots Harlan through the + glazed glass, coming down the stairs in the foyer. + + LIEUTENANT ELLIOTT (V.O.) + Harlan. Who came down for midnight + snacks, which Walt tried to + discourage. + + WALT + Dad, go to bed! + + Through the glazed glass, Harlan goes back up the stairs. + + LIEUTENANT ELLIOTT (V.O.) + Based on this, the medical examiner + determined time of death to be + between 12:15 and 2am. As Walt was + finishing his cigar, about 12:30, + Meg came home. She went straight to + bed. Walt and Jacob turned in + shortly after that. + 34. + + + Meg pulls up, trots past Walt and Jacob and inside. + + +58 INT. JONI AND MEG'S GUEST ROOM - NIGHT OF PARTY 58 + + Meg stirs, wakes. Joni is asleep. + + LIEUTENANT ELLIOTT (V.O.) + Sometime later that night, + undetermined but possibly near 3am, + Meg woke up because the dogs were + barking outside. She used the + bathroom and went back to bed. + + +59 EXT. PATIO - DAY 59 + + Elliott snaps the notebook closed. + + LIEUTENANT ELLIOTT + And that's it. Everyone's stories + matched, every movement accounted + for. + + BLANC + There is no other staircase up to + Harlan's room? + + Blanc scratches that same spot on the side of his neck. + + LIEUTENANT ELLIOTT + No. Just the creaky one. + + Blanc seems intrigued by this. + + BLANC + Interesting. + + TROOPER WAGNER + So I guess we can rule out Ransom, + he wasn't there. And Marta, Harlan + was alive after she left. But Meg + got home during the time of death + window. + + LIEUTENANT ELLIOTT + 35. + + + Except it was a suicide. Harlan hit + both carotids, we saw from the + blood blood splat patterns that + they were uninterrupted. Meaning, + It's almost impossible for anyone + to have been around him at the + time. He's the one that cut his own + throat. I don't know why we keep + going over this. + + BLANC + Physical evidence can tell a clear + story with a forked tongue. + + LIEUTENANT ELLIOTT + What? + + BLANC + And as we've seen this morning, + everyone can lie. Well. Almost + everyone. + + +60 INT. LIBRARY - LATE AFTERNOON 60 + + Marta in the chair. She shifts, uncomfortable. + + Blanc, Elliott and Wagner in their normal places. + + BLANC + Ms. Cabrera, we've kept you waiting + all afternoon because I wanted to + hear from you last. I wanted to + have the entire picture of the + evening in my head. Your piece of + it is at its very center. So + please, take your time. You took + Mr. Thrombey upstairs at 11:30. And + left at midnight. Think very + carefully. And with as much detail + as possible, tell us what happened + in that half hour. + + Marta is very still. A moment of silence. Blanc flips his + silver dollar into the air. + + She does not say a word, but in that moment while the coin + hangs in the air we FLASH BACK with her to: + + +61 INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK 61 + + The night of the party. A clock on a nightstand: 11:32. + 36. + + + Off screen we hear Marta leading Harlan up the creaky + stairs. + + MARTA + Up up up up - you got it? + + HARLAN + I got it. Up up up I got + it. + + Marta enters the room, and behind her we see Harlan keep + climbing up the narrow stairs to his office. + + MARTA + Up up nooooo no not tonight, no + straight to bed tonight it is soooo + late c'mon. Harlan. Harlan! + + She grabs a med kit from the bedroom and follows him, + exasperated. + + +62 INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK 62 + + Harlan sits, setting up a GO board. Marta enters. + + MARTA + It's late, I had champagne no no no + + HARLAN + It's my birthday, we are - You had + one glass - we're not breaking + tradition on my birthday. + + Marta puts two vials and a pill box on the GO board. She + pulls out two plastic wrapped hypodermics. + + MARTA + Take your goddamn medicine and go + to bed. + + HARLAN + If you're going to put that vile + shit in me you will have to earn + it. On my birthday. + (playing it up) + Eighty fifth. So old. Soo olddd + + MARTA + Alright old man. 8x8 game. You + ready? + 37. + + +She sits and they start clacking white and black stones on +the board. + + HARLAN + Why can't I beat you at this game? + Oh uh huh. + + MEG + Because I'm not playing to beat + you, I'm playing to build a + beautiful pattern. + +They play fast, and Marta is obviously winning. + + HARLAN + Elder abuse. I'm calling the AARP. + + MARTA + Don't make me get the belt. + + HARLAN + It's basically over. My only hope + is that an earthquake will strike. + But what are the chances - + +Harlan starts shaking the table with his knee. He looks +around, startled. Marta just stares at him, deadpan. + + HARLAN + Get under a door frame! + +He tips the whole table and the GO board and med vials and +syringe and med kit fall to the soft rug. Things spill out +of the kit. A mess. Marta just shakes her head. + + MARTA + Meds then beds. + + HARLAN + Fair. + +She retrieves the vials and loads a syringe from one of +them. Harlan rolls up his sleeve revealing a pre-inserted +catheter. He crosses to close the room's only small window. + + HARLAN + Ugh, Walt's smoking a cigar on the + porch. Nasty things. + + MARTA + How was tonight? + 38. + + +She hooks the syringe up to the catheter and slowly injects +him bit by bit while he talks. + + HARLAN + Tonight was... good. + + MARTA + Because I know you weren't looking + forward to it. + + HARLAN + No. But I did it. Cut the line on + all four of them. It was not easy. + This goddamn fortune. Sometimes I + think, everything I've given my + family, I've done, maybe without + knowing it, maybe, to keep them + beneath me. I should have what... + maybe, I don't know. Encouraged + Walt to write his own stories, not + just be a caretaker of mine. Like + you said I should. Been a father, + not just a provider, to Joni. Like + you've also said. I should have + been kinder to Linda. And Ransom. + +Harlan takes a curved ornamental dagger from a display +mount, turns it over in his hands. + + HARLAN + Jesus there's so much me in that + kid. Confident, stupid, I dunno. + + HARLAN + Protected. Playing life like a game + without consequence, till you can't + tell the difference between a stage + prop and a real knife. + +He stabs it into the desk, sharp and real. Leaves it there. + + HARLAN + I don't fear death. But god I'd + like to fix some of this before I + go. Close the book with a flourish. + I guess we'll see. + + MARTA + I guess we will. Hey. Old man. + You've had a long day. Wanna do + drugs. + +She loads the second syringe from the second vial. + 39. + + + HARLAN + you mean the good stuff? + + MARTA + Yeah but just a tiny bit. + + HARLAN + Send me to lala land. Why did I + wait till my mid eighties to become + a morphine user, what a schmuck, + what a nud-nig, this stuff's the + best. + +She pulls the needle from the second vial... then sees the +label. Freezes. Blinks at it. + + MARTA + Oh my god. + +She snatches up the first vial she just injected him from. + +Compares the label to the one she just picked up. They're +similar but not the same. + + HARLAN + Is there a problem? + + MARTA + This is what I just gave you 100 + milligrams of. But I messed up. + + HARLAN + You gave me 100 milligrams of the + good stuff. + +She immediately pulls an EMERGENCY KIT from a nearby shelf, +starts calmly but quickly going through its contents. + + HARLAN + What's the good stuff dosage + supposed to be? + + MARTA + Lets not call it that right now - + three milligrams. + + HARLAN + That's much less. So what happens? + + MARTA + I give you an emergency shot of + Naloxone, so that you don't die in + ten minutes. + 40. + + + HARLAN + Well no pressure. You know that's + an interesting, efficient method + for murder, I need to write that + down. + +He gets a little notebook and scribbles while she checks +and rechecks the kit contents with increasing urgency. + + HARLAN + So if someone switched the meds on + purpose I'd be dead in ten minutes, + like stone cold dead? + + MARTA + You'll feel symptoms in five. + Sweats, disorientation. Then yeah, + that big a dose, injected, within + ten your respiratory - your - yes + ten minutes. + + HARLAN + From the time of injection, so + eightish now. And even if the + victim called an ambulance when he + first felt symptoms, if he was at a + country home like this one... where + the ambulance takes fifteen minutes + to arrive, it would be too late. If + the victim didn't have this + emergency Naxostuff. + +He watches her. She's now digging around the carpet, +looking under the couch. She dumps the entire contents of +the kit out and is now frantically going through it. A bead +of sweat rolls down Harlan's brow. + + HARLAN + Marta. Do you have Naxostuff? + + MARTA + Yes! Naloxone yes it comes with the + emergency kit - it should be here, + it's - fuck. No Harlan it's not + here. It's not. Oh my god. + +They look at each other for a second. She's panicked. He's +thinking. + + MARTA + Where's my phone? Shit - + 41. + + +She picks up a landline phone on the table, dials 911 with +shaking hands - + +Before it can even ring, the line goes dead. + +She looks, unbelieving: Harlan's finger is on the cradle. + +His eyes are locked with hers, serious and certain. + + MARTA + Harlan what are you doing? + + HARLAN + Marta, listen to me. + +She goes for her cell phone across the room and Harlan +stops her - they trip and fall to the ground with a KA- +THUNK. + +He actually puts his hand over her mouth. + + HARLAN + Listen. If what you said is true I + am gone, there's no saving me, we + have six minutes. There is one last + thing I need to do in this world, + and only you can help me do it. But + you need to trust me and do + everything I say. + + MARTA + What do you want to do? + + HARLAN + Get you out of this. Think of your + mom - please trust me, we have to + make this look ironclad like it + can't have been your fault. You. + Can't. Have done this. + + MARTA + My mom...? + +CREAK on the stairs outside. + + HARLAN + Get up. + +A knock on the door. + + JONI (O.S.) + Harlan? Marta? Everything alright? + 42. + + +Harlan and Marta stand. She's dazed, deer in the +headlights, but he's focused and sharp. He turns her away +from the door. + + HARLAN + Stand here, keep your back to me, + don't say a word. + +Harlan opens the door. While he gets rid of Joni we stick +with Marta, who stands stock still, tears running down her +face, eyes wild - what does she do? + + HARLAN + Joni. + + JONI + I - hi - I heard something, is + everything ok? + + HARLAN + Oh yes we just, I just knocked over + the GO board, sorry about that. + + JONI + Everything's alright? + + HARLAN + Yes yes all fine, go to bed Joni. + + JONI + Ok. And maybe we can talk tomorrow + about the, uh, the thing with + + HARLAN + Yes. Tomorrow. + + JONI + Love you, Night. + + HARLAN + Night night. + +Harlan shuts the door. Looks at the knife still sticking in +the desk. Then takes Marta's shoulders, looks in her eyes. + + HARLAN + Pay attention now, your mom is + still undocumented, if this is your + fault she'll be found out and at + best deported, your family will be + broken. + +A new kind of fear in Marta's eyes. + 43. + + + MARTA + Oh god + + HARLAN + But we're not going to let that + happen. I have a plan, it's not + going to be easy but you have to do + exactly what I tell you. Will you + do this Marta? This last thing. For + me, and for your family. + + She's terrified. But she nods. + + MARTA + What do you want me to do? + + +63 EXT. FRONT PORCH - NIGHT OF THE PARTY - FLASHBACK 63 + + Walt smoking and Jacob. + + HARLAN (V.O.) + Go downstairs as noisily as you + can, say goodbye loudly. + + MARTA (O.S.) + Walt! I'm leaving! + + Marta exits quickly, down to her car. + + HARLAN (V.O.) + Call attention to the time if you + can. + + MARTA + God it's midnight already. + + Walt checks his watch. + + +64 INT. MARTA'S CAR - NIGHT - FLASHBACK 64 + + She drives out the guard gate and down the private road. + + HARLAN (V.O.) + Drive out the gate, then to avoid + the security cameras, pull off the + road BEFORE the carved elephant. + + Up ahead - a weathered wood carved elephant statue. + + MARTA + Wait... was it before or after? + 44. + + + HARLAN (V.O.) + AFTER the carved elephant. + + MARTA + No, he said - before? Was it? + + HARLAN (V.O.) + BEAFTERFORE the carved elephant. + + MARTA + Shit... + + She yanks the wheel and pulls off BEFORE the statue. + + +65 EXT. WOODS - NIGHT - FLASHBACK 65 + + Marta trudges away from the parked car, tree branches + catching her hair. + + HARLAN (V.O.) + Park and come back on foot up to + the house, + + +66 EXT. THROMBEY ESTATE SIDE GATE - NIGHT - FLASHBACK 66 + + A waist-high stone wall with a little pedestrian gate. The + house up ahead. Marta goes through the gate and up towards + the house. + + HARLAN (V.O.) + Take the side yard path, through + that little gate. + + The DOGS sprint down the moonlit yard from the house + towards Marta. + + HARLAN (V.O.) + The dogs will know you, they + shouldn't bark. + + The dogs stop at Marta and lick her hand. + + +67 EXT. THROMBEY ESTATE SIDE YARD - NIGHT - FLASHBACK 67 + + Marta looks up the side of the looming house. A sturdy + trellis on the wall, and high above a third story window. + + HARLAN (V.O.) + 45. + + + You've got to get up to the third + floor without being seen, and the + only way is to climb the side + trellis and come in through the + trick hall window. + + MARTA + You've gotta be kidding me. + + HARLAN (V.O.) + I am not. Do it. + + Cut to: moments later, Marta climbing the trellis. It's + easy going until a piece BREAKS under her foot, and she + swings for a second by one hand. + + HARLAN (V.O.) + And for godssakes don't make any + noise. + + +68 INT. THIRD FLOOR LANDING - NIGHT - FLASHBACK 68 + + What appears to be a dead end hallway, with a painting at + the end. BUT suddenly the end wall swings away like a door, + revealing a WINDOW behind it. Marta heaves her way in + through it, and steps lightly into Harlan's bedroom. + + HARLAN (V.O.) + Once you're inside, this is the + tricky part. + + MARTA (V.O.) + THIS is the tricky part? + + +69 INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK 69 + + HARLAN (V.O.) + Get my robe and cap from my + bedroom. And put them on. + + She picks them up from the bed. Stops. A moment of doubt. + + +70 INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK 70 + + Back to the scene with Harlan. Marta stops him. + + MARTA + Harlan this is - I - this is crazy + - + 46. + + + HARLAN + We need to make this so airtight + your average cop will entirely + dismiss you as a suspect. This + seems crazy but it will work. + + +71 INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK 71 + + Marta in the robe, pulling the cap on, tucking her hair + under it. + + +72 INT. SECOND FLOOR LANDING - NIGHT OF PARTY - FLASHBACK 72 + + Marta, in Harlan's robe and cap, creeps down the creaky + stairs, then keeps going down. + + HARLAN (V.O.) + Walt and Jacob are smoking outside. + They'll see you... + + +73 INT. FOYER - NIGHT OF PARTY - FLASHBACK 73 + + Marta come down the stairs, and sees the outline of Walt + and Jacob outside through the glazed window windows. + + HARLAN (V.O.) + ...through the glazed window. + + She holds her breath, a deer in the headlights. + + WALT + Dad, go to bed. + + Marta heads right back up the stairs. + + HARLAN (V.O.) + You were seen leaving, the security + cameras show you driving off, and + twenty minutes later I am seen + alive and well by my son. + + +74 INT. SECOND FLOOR LANDING - NIGHT 74 + + Marta climbs the creaky stairs. + + HARLAN (V.O.) + You've gone from suspect number one + to an impossibility. + 47. + + +75 INT. HARLAN'S BEDROOM - NIGHT 75 + + Marta ducks in, ditching the robe and cap on the bed. + + +76 EXT. THROMBEY ESTATE SIDE YARD - NIGHT 76 + + Marta shimmies down the last of the trellis. + + HARLAN (V.O.) + Leave the way you came. And don't. + Be. Seen. + + She hops to the ground, then FREEZES and almost shouts. + + She's facing a darkened first floor window. Wide open. And + inside it, staring RIGHT AT her, is Greatnana. + + Marta is frozen. Greatnana isn't moving either. Just has + her eyes locked on Marta. + + After what seems like forever, Greatnana cocks her head + slightly and asks... + + GREATNANA + Ransom? Are you back again already? + + Marta breathes. And backs away. Then turns and goes, + quickly, down across the lawn. + + HARLAN (V.O.) + Drive home. Sometime in the next + few days the police will question + you. + + +77 INT. HARLAN THROMBEY'S STUDY - NIGHT 77 + + Back to Harlan and Marta. + + MARTA + Harlan I can't lie I'll puke + + HARLAN + Don't lie. Tell fragments of the + truth. In this exact order: + + +78 INT. LIBRARY - LATE AFTERNOON 78 + 48. + + + Blanc catches his coin. Lieutenant Elliott and Trooper + Wagner look up at Marta, expectant. Just a brief moment has + passed since we left them. + + MARTA + I took him upstairs. We played our + nightly game of GO, at some point + he knocked the board over and Joni + came up to check on us. Then I gave + him pain medication, he pulled his + shoulder last week, and left him in + his study. At midnight. Said bye to + Walt, went home. + + LIEUTENANT ELLIOTT + What medication did he get? + + Marta chooses her words very carefully: + + MARTA + Since his injury I've been giving + him a 100 milligram IV push of + Toradol, a non narcotic analgesic. + And to help him sleep, 3 milligrams + of morphine. + + LIEUTENANT ELLIOTT + Anything unusual about his + demeanor? + + Uh oh. Marta keeps it solid. Superhuman effort. + + MARTA + No. + + The three men nod. Blanc holds Marta's gaze. She holds it + right back. Then he smiles. + + BLANC + Well that sounds about right. Thank + you Ms. Cabrera. + + +79 INT. FOYER - MOMENTS LATER 79 + + Marta walks calmly out of the library. Then across the + foyer into a small door. + + +80 INT. HALF BATH 80 + + Marta walks in, closes the door behind her, locks it, turns + on both the taps, and PUKES into the toilet. + 49. + + +81 INT. LINDA'S ROOM 81 + + Linda stands in her childhood room, by the window in the + ebbing light. From a shelf she pulls a stack of PINK + NOTECARDS, identical to the one Harlan showed Richard in + his office. But these are covered in writing, sweet little + notes, a father to his daughter. + + WALT (O.S.) + Hey sis. People are going to start + getting here for the memorial + pretty soon. Are you- Are you + alright? + + She looks up. Walt in the doorway. She wipes her eyes, + indicates the notes. + + LINDA + I was just thinking about Dad's + games. This all feels like one, it + feels like something he'd write, + not do. I keep waiting for a big + reveal, where it all makes sense. + How nice would that be? + + Her little brother hugs her. His eyes tired and dark. + + +82 INT. LIVING ROOM - NIGHT 82 + + HARLAN THROMBEY - his portrait, with an ambiguous look on + his face. + + Marta. Soda water in hand at the reception that night. + + Staring shell shocked at Harlan. + + The reception for friends of the family. Tables of food. + + Twenty or thirty people milling, in dark tasteful clothes, + with the whole Thrombey family. + + A tearful Fran has cornered Marta, talks through sobs: + + FRAN + 50. + + + I don't think he killed himself I + don't. I don't. There's this + Hallmark movie Deadly By Surprise + where Danica McKellar plays a wife + who gets poisoned by her husband + but bit by bit so she thinks she's + going crazy and she ends up killing + herself, and my cousin who's the + receptionist at the medical + examiners office says that kind of + thing can totally happen, she says + it's not even like 3% as crazy as + stuff she's seen come through the - + + As Fran's talking, Marta looks at the room of family + members, gathered around talking. + + She FLASHES BACK to: + + +83 INT. LIVING ROOM - NIGHT OF PARTY - FLASHBACK - NIGHT 83 + + NIGHT OF THE PARTY + + Harlan and Ransom go off together to have a private talk, + leaving the family having a heated conversation in the + living room. + + RICHARD + I don't like him no he's an asshole + but maybe an asshole's what we + needed oh uh huh yeah there you go + + JONI + Oh god. Yeah an asshole's what + Germany needed in nineteen thirty + ever + + Marta stays on the outskirts. Fran, with a tray of + champagne flutes: + + FRAN + Jesus. I'm gonna disappear until + the politics talk is done. You want + some champers? + + MARTA + No I'm technically working. Thanks. + + Marta checks her watch. Meanwhile Donna, who's had a few, + is tearing into the family fight. + + DONNA + 51. + + + We're losing our way of life and + our culture, there's millions of + Mexicans coming and this isn't Joni + don't make this a race thing, I'd + say the same thing if they were + European immigrants - we allow them + in and they think they own what's + ours + + JONI + Oh god really - yeah it's not a + race thing yeah Oh yeah, if the + Swiss were clogging in the streets + - They're putting. Children. In + cages. I mean these are camps. + + RICHARD + Nobody's saying that isn't bad, but + I blame the parents + + JONI + For wanting a better life for their + kids, isn't that what America + + RICHARD + For breaking the law. You're going + to hate hearing this but it's true, + America is for Americans. Marta, + come here. + +Richard beckons her over, waving his cake plate. We've seen +this moment before, silent, during Richard's questioning. + + LINDA + Oh god don't. + +Marta is drawn over next to Richard, very uncomfortable. + + RICHARD + No, Marta your family came from + Uruguay but you did it right, she + did it legally, I'm saying. You + work hard, and you'll earn your + share from the ground up just like + dad and all of us did - Marta I bet + you agree with me. + + LINDA + Leave the poor girl alone. + + RICHARD + 52. + + + No Marta do you agree, I'd like you + to answer - you wanna become an + American, there are legal ways to + do it, but if you break the law it + doesn't matter if you have a good + heart, you gotta face the + consequences. + + At that moment booming shouts begin behind the study door - + Harlan and Ransom going at it. Ransom bursts out. + + Marta takes the opportunity to slip into the hallway, + alone. + + She breathes hard. Takes a champagne flute from the tray. + + Drinks it in one gulp. + + +84 INT. LIVING ROOM - NIGHT 84 + + END FLASHBACK. Marta in the same spot, Fran still talking + her ear off. The room sways. Marta sucks in breath, sways, + and braces herself against the wall. + + FRAN + Oh my god Marta, what? + + Meg runs over, rubs her back. + + MEG + Whoa hey, c'mere, hey. What do you, + you want water? Breathe. Hey. Fran + have you still got your stash? + + +85 INT. DRAWING ROOM - NIGHT 85 + + Empty and dark, fireplace blazing. Above the fireplace is + an ornate mantle clock. Fran uses a key to unlock one of + several tiny drawers hidden in its face, takes out a joint + and hands it to Meg. + + FRAN + Take em whenever you need em - + they're just drying out since you + gave me that Juul. + + MEG + Thanks Fran. + + Fran leaves them alone. + 53. + + + MARTA + I'm sorry I'm sorry I'm sorry + + MEG + Stop saying you're sorry Jesus + + Meg lights the joint. + + MARTA + God my heart won't stop, I can't - + it's just everything, no, thank you + + she refuses the joint, then realizes where it came from. + + MARTA + That's where Fran keeps her stash? + + MEG + Who's going to open a clock? + + +86 INT. LIVING ROOM 86 + + Walt yells at a non responsive, bored Greatnana. + + WALT + DO YOU WANT DINNER, NANA? DINNER? + TO EAT? EAT? + + LINDA + Walt she's fine, she ate the whole + salmon spread already. + + Meg grabs Walt, pulls him to Marta. + + MEG + Did you tell Marta yet? What we all + talked about? + + WALT + No, not yet, is now a good time? + + MEG + Yes a very good time. Right now. + + WALT + Marta. We've talked it over, and + (wait) + Have you been smoking grass? + + MEG + No. + 54. + + + WALT + We talked it over and the whole + family, we want to take care of + you. + + MARTA + What does that mean? + + MEG + We all think you deserve something. + + WALT + Financially, we want to help you + out. You were never anything but + good to dad. Because of that, you + can count on us. + + Walt embraces her, Meg puts a hand on her back. + + Over Walt's shoulder, Marta sees Harlan's portrait again. + + Has its expression changed? It looks like it has a slight + conspiratorial smile. Marta breathes - maybe this is all + going to be ok. + + WALT + I thought you should have been at + the funeral, by the way. I was + outvoted. + + +87 EXT. SIDE PORCH - NIGHT 87 + + Later. Marta comes out to get some air. Exhales deeply. + + And then jumps - she's not alone. Benoit Blanc sits in a + wicker chair in the dark, smoking a long thin cigar. + + MARTA + Wah ha. Detective. You're still + here? + + BLANC + Mm. + + Silence. Blanc smokes and stares at Marta. Marta shifts. + + MARTA + Did you know Harlan? + + BLANC + 55. + + +He knew my father who was a police +detective. Years ago. My father +respected Harlan. That says quite a +lot. + + MARTA +So that's why you're here? + + BLANC +Here now here? No. I stayed hoping +to speak to you a little more. + + MARTA +Uh? + + BLANC +Something is afoot with this whole +affair. I know it, and I believe +you know it. + + MARTA +So you're... going to keep digging. + + BLANC +Harlan's detectives they dig, they +rifle and root, truffle pigs. I +anticipate the terminus of +gravity's rainbow. + + MARTA +Gravity's Rainbow. + + BLANC +It's a novel. + + MARTA +I know. I haven't read it. + + BLANC +Neither have I. Nobody has. But I +like the title. It describes the +path of a projectile, determined by +natural law. Voila, my method. I +observe the facts without biases of +the head or heart, I determine the +arc's path, stroll leisurely to its +terminus, and the truth falls at my +feet. + (beat) + 56. + + + The medical examiner was ready to + rule this a suicide, but Elliott + agreed to keep it pending for forty + eight hours. Tomorrow morning I + search the grounds and the house, + begin my investigation. I want you + to be by my side for it. My + confidant, my eyes and ears. + + MARTA + What but - why me? + + BLANC + I trust your kind heart. Also you + are the only one who had nothing to + gain from Harlan's death. So. + Watson. + + Blank puts out his cigar, stands. + + MARTA + You want my insight into this + family? None of them are murderers. + That's my insight. + + BLANC + And yet. Be it cruel or comforting, + this machine unerringly arrives at + the truth. That's what it does. + + MARTA + Always? + + He does a little bow. + + BLANC + Tomorrow at eight. + + Marta watches him go. + + +88 INT. CABRERA LIVING ROOM - NIGHT 88 + + Marta gets home. Her mom is on the couch, zoning out in + front of the TV, still in a cleaning uniform. Without a + word Marta sits next to her. Stares at the TV. + + Off her eyes, we FLASH BACK with her: + + +89 INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK 89 + + HARLAN + 57. + + + I know I missed something... + there's going to be something I + missed. But I know you can beat it. + Without losing your soul you have + to do what you have to do to beat + this, and win. + + MARTA + I can't. + + HARLAN + You can and you have to. For me. + Right now. + + She's out the door and he shuts it. + + +90 INT. OUTSIDE HARLAN'S ATTIC OFFICE DOOR - NIGHT - FLASHBACK 90 + + Marta stands frozen. Soft voices of Walt and Jacob float up + from downstairs. She turns back to the door. + + Silence. Moments going by. Shit. Can she do this? Shit. + + No. She turns and pushes back into the office - + + +91 INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK 91 + + MARTA + Harlan I have to get you help - + + Harlan reclines on the couch in the middle of the room, + ornate dagger against his throat. Marta's eyes go wide. + + HARLAN + Do what I say and everything's + going to be ok, Marta. I promise. + + She makes a move to stop him and with one quick motion he + DRAWS THE DAGGER across his throat. Blood sprays. + + She leaps back, hands to her mouth, spins and leaves the + room, closing the door behind her. + + +92 EXT. THIRD FLOOR LANDING - NIGHT - FLASHBACK 92 + + Breathing hard, silent crying. Then her breathing slows. + + Her brain taking over. Resolve settling. The dice are + thrown. She wipes her eyes. Then bounds down the stairs, + out of frame. + 58. + + +93 INT. CABRERA LIVING ROOM 93 + + Back to Marta and her mom on the couch. She puts her hand + on Mom's knee. + + MARTA + Everything's going to be ok. I + promise. + + MOM + (of course) + I know. + + They go back to watching TV. But Marta's mind is buzzing. + + On her white sneaker, we see but she does not - one single + drop of blood. + + +94 EXT. THROMBEY ESTATE GUARD GATE - MORNING 94 + + The gate is open, Marta's car pulls up just inside it. The + small Guard house next to the gate, Blanc, Elliott and + Wagner outside it. Blanc waves to her. + + +95 INT. GUARD HOUSE 95 + + Thrombey's security man, MR PROOFROC, guides them into the + cramped dusty space. Proofroc is old and salty. He shows + them old photos of the house, stuck to a steel fridge with + big brightly colored fruit magnets. + + MR PROOFROC + Fifty years I worked this estate, + you know security back then meant + making the rounds with a 94, + keeping your ears open. Before all + this modern technology. + + Nothing in the room is newer than 1988. An 8 inch CRT + monitor shows a phosphorescent live feed of the road + outside the gate, and a top loaded VHS VCR sits next to it. + + MR PROOFROC + Well the video here, I saved the + tape from that night, usually I + erase 'em with the magnetic de- + gauser, but I thought better save + that one. Cause, security. That's + the live feed there. + 59. + + +Marta notices something with alarm - the video feed shows +the road outside, and at the top edge you can just barely +see the carved elephant that marks the gardener's utility +road. She realizes Harlan said + + HARLAN (V.O.) + ...to avoid the security cameras, + pull off the road AFTER the carved + elephant. + +Marta keeps a poker face, but.. shit. + + LIEUTENANT ELLIOTT + (to Proofroc) + Can we see the actual TAPE? + + MR PROOFROC + Oh sure. + +CLACK! The tape loads into the mechanical VCR. An +impossibly grainy, smeared night vision view of the road +outside the gate. Time stamp: 10:02pm. + + TROOPER WAGNER + It's like a Japanese horror movie. + + MR PROOFROC + (proud) + I record it SSLP, gets eight hours + per tape. Nine pm to five am. + + BLANC + Can we - + (to Marta) + Can we scan forward? + + MARTA + (to Proofroc) + Can we scan forward? + + MR PROOFROC + Hold the play button down and press + the FF down halfway till you feel + it grind. + +Wagner does, the machine makes horrible noises and the +picture frizzles and frazzles. Then stops and ejects. + + MR PROOFROC + And hold the tape down or it'll + eject. + + BLANC + 60. + + + Can your guys digitize it so we can + scan it properly? + + TROOPER WAGNER + I'm sure we can. + + MARTA + I got it. + + Marta grabs the tape from the VCR. + + +96 EXT. WOODS - DAY 96 + + They all hack through the overgrown gardener's path. + + TROOPER WAGNER + You know all these statues that you + see around here - they are all + straight out of his series the + "menagerie tragedy series", pretty + cool. + + LIEUTENANT ELLIOTT + (dry) + Awesome. Blanc the grounds are + lovely but you think what, someone + broke into the house? To kill + Harlan? Is that why we're out here? + + BLANC + I think it's an unlikely but if + they did, there will be traces. + + TROOPER WAGNER + I'll take that, thanks ma'am. + + Marta hands Wagner the VHS tape. Then she discretely + pockets something she had held in her hand next to it - a + few of the bright fruit MAGNETS from Proofroc's fridge. + + +97 EXT. THROMBEY ESTATE SIDE YARD 97 + + The group hikes up out of the woods, towards the low wall + with a small pedestrian gate that leads to the east lawn. + + Marta is out in front. During the following, she notices + something: The earth around and under the gate is soft and + bare. And clear as day: HER FOOTPRINTS from the other + night, the only ones from women's shoes. The same ones she + has on now. Her breath catches. SHIT. + 61. + + + LIEUTENANT ELLIOTT + Any luck with - whatshisname? + + TROOPER WAGNER + Ransom. No, but we have an address. + Ten Kenoak street. + + BLANC + Ten Kenoak. That's a pleasant thing + to say. kenoak. I awoke amid + Kenoak. + + TROOPER WAGNER + Ugh this mud, my boots are going to + stink. + + BLANC + Mud - has it rained the past week? + No - Nobody move! Freeze! Everyone! + These footprints must not be + disturbed! + (sees) + Marta! + +Marta has already walked through the pedestrian gate and up +onto the lawn, stepping in her pre-existing prints. She +turns back, playing dumb. + + MARTA + What? + + BLANC + Don't - stop there, don't - + + MARTA + I can't hear you, what? + +She trots back to them through the gate, stepping into her +returning prints. + + BLANC + No no no no don't - don't step on + the, ok, alright. Aughhhhh ok. + + MARTA + What? + +Blanc sidesteps up to the gate, not stepping in the mud. + + LIEUTENANT ELLIOTT + Alright, Wagner let's get the boys + on it, check the prints, tape off + this area, keep it clear. + 62. + + +The dogs come running down the lawn, barking at the men. + +They tear through the gate, further messing up the mud. + + MARTA + Hey boys, easy. Hey. Hey. + +She pets them and they quiet down. + + BLANC + Best judge of character is a dog. + I've found that to be true. + +The dogs start BARKING and bolt towards the house, where +Richard and Linda are pulling up in their lux SUV. + + LIEUTENANT ELLIOTT + They're doing the will reading at + ten, whole family will be here + soon. + +Elliott heads up towards the house. Blanc meanders up the +lawn, and Marta follows. + + MARTA + I've never been to a will reading. + + BLANC + You think it'll be like a game + show. No. Imagine a community + theater performance of a tax + return. + +They approach the side of the house. Blanc does a gentle, +meandering study of the layout. + +Marta steals a look at the trellis she climbed. + +Oh no. A piece of the white lattice trellis that broke off +when she was climbing - about eight inches long - lies in +the grass beneath it. Her eyes dart up - yup, there's the +broken spot. Shit. + + BLANC + SWEET BEANS + +Marta starts - did he spot it? No - he's come face to face +with Greatnana, standing stock still on the porch. She +stares at him like a bird. + + BLANC + Good morning Mrs. Thrombey. + 63. + + + He approaches her, slowly. When his back is fully turned + Marta takes her shot and KICKS the piece of trellis under + some thick bushes at the base of the house. + + Blanc and Greatnana stare at each other. Blanc gets very + close to her, great sympathy in his eyes. Greatnana stares + back. It's almost like they're communicating. This goes on + for a little too long. Then Blanc breaks from the trance, + and turns to Marta. + + BLANC + Do you think you could handle the + study? + + +98 INT. HARLAN THROMBEY'S STUDY 98 + + The blood is now only a subtle dark stain, but other than + that the room has been left intact from the night of the + party. Marta and Wagner observe as Blanc paces the room. + + BLANC + (to Marta) + Where's your medical bag? + + MARTA + I... don't know - I left it here, I + always leave it with Harlan at + night. + + TROOPER WAGNER + They must have taken it in as + evidence. I'll check on it. + + Blanc picks up the GO board and sets it on the table. + + Examines its grid idly. + + BLANC + How'd the GO board get knocked + over? + + MARTA + We were just goofing around. + (beat) + What are you thinking? + + Blanc sighs gently, turns the baseball over in his hands. + + Looks like this was a bust. + + Blanc tips the GO board over, and it lands on the carpet + with a nearly inaudible WHOMPH. He stares at it. + 64. + + + But his concentration is broken by sharp barking outside. + + They go to the tiny window and look out. A DASHING MAN in + his early 30s climbs out of a vintage Porsche. The dogs go + NUTS, biting at his pant legs. + + BLANC + Let me guess. + + +99 EXT. THROMBEY ESTATE FRONT DRIVE 99 + + The man kicks off the dogs and limps toward the house, + cursing. Lieutenant Elliott and Trooper Wagner step out + onto the porch. + + LIEUTENANT ELLIOTT + Hugh Drysdale? + + RANSOM + Ransom. Call me Ransom, my middle + name. The help call me Hugh. + + LIEUTENANT ELLIOTT + I'm Lieutenant Elliott, this is + officer Wagner, we'd like to ask + you a few questions about the night + of + + RANSOM + Uh huh. + + He blows past them and into the house. + + +100 INT. LIVING ROOM 100 + + Walt, Donna and Jacob (nose in his phone) sit around the + room. Linda and Richard stand, on their phones. Ransom + breezes in, bumping Donna who YELPS, startled. + + Elliott and Wagner follow. + + TROOPER WAGNER + Sir excuse me, we are officers of + the law. + + RANSOM + You gonna run me in? I don't feel + like talking. I'm distraught. + + Ransom disappears into the kitchen, comes out eating a + sleeve of pinwheel cookies. + 65. + + +Blanc and Marta slip in. Elliott nods to Blanc. + + LIEUTENANT ELLIOTT + Blanc, anything you need to ask + him? + + RANSOM + The hell anyway is this + arrangement? + + BLANC + Mr. Drysdale + +Ransom sizes up Blanc with a grin. + + RANSOM + CSI KFC? + +Ransom grabs Fran the housekeeper's sleeve as she walks by. + + RANSOM + Hey Frannie can you get me a glass + of cold milk? + +Meg and Joni have just entered, and Meg heard this. + + MEG + Hey asshole. Not her name, not her + job. + +Fran walks off with a scorching look at Ransom. + + RANSOM + Meg. How's your SJW degree coming? + +ALAN STEVENS, the family's attorney, knocks and enters with +an assistant, SALLY, who juggles several attache cases. + + ALAN + Hey everyone. Hey. I'm just going + to set up in the other room, be + ready in ten minutes. + +They go off to the library, leaving the family all together +in tense silence. + + WALT + Funny Ransom, you skipped the + funeral but you're early for the + will reading. + + JONI + 66. + + +Ok, people grieve in different +ways, let's not + + WALT + (to Ransom) +It's funny you're here at all. Why +are you even bothering, that's what +I want to know. + + RICHARD +What's that supposed to mean? + + WALT +He knows what it means. + + LINDA +Walt, what? + + WALT +Jacob was in that bathroom the +night of the party. + + JONI +Is that where you were all night? + + RICHARD +The hell were you doing in the +bathroom all night? + + JACOB +Nothing. + + MEG +Swatting Syrian refugees. + + JACOB +No. + + MEG +Alt right troll. + + JACOB +Liberal snowflake. + + WALT +I don't know what any of that means + + RICHARD +It means your son's a little creep. + + WALT +Oh MY son's a creep? + 67. + + + JONI + Guys! Walt he was in the + bathroom... + + WALT + He was in the bathroom + + RICHARD + Joylessly masturbating to pictures + of dead deer. + + WALT + Ok you wanna go? + + They go at each other and do some half-hearted slap- + fighting before Linda and Joni break them apart. Ransom's + loving this. + + RANSOM + We gotta do this more often. + + LINDA + Alright! Enough. Jacob, we get + where this is going. The bathroom's + next to Harlan's office, where he + had the big fight with Ransom. You + heard something. Spill it. + + JACOB + I just heard two things. + + +101 INT. HALF BATH - NIGHT OF PARTY - FLASHBACK 101 + + Jacob on the toilet, hearing non distinct yelling through a + vent high in the wall. But two words poke through: + + HARLAN (O.S.) + ...my will! + + +102 INT. LIVING ROOM 102 + + JACOB + And then there was more shouting, + but I also heard Ransom say "I'm + warning you." + + Walt raises his arms, triumphant. + + LINDA + Ransom? What's this mean? + 68. + + +He just eats cookies, silent. + + WALT + It means dad finally came to his + senses and cut this worthless lazy + brat out of the will. + (to Ransom) + And you better sell your little + Beamer and you better give your + notice at that country club and + kick whatever fashion drugs you're + on cause if you think after the + bridges you've burned, the shit + you've said and what you've put + this family through for the past + ten years that any of us are going + to support you, are going to give + you like dad used to say a single + red dime you're nuts. + +Ransom looks around the room. Cold faces. + + RICHARD + Son. + + RANSOM + (mock gravity) + Father? + + RICHARD + Did Harlan tell you he was cutting + you out of the will? + + RANSOM + Yes. + + RICHARD + Then he's done what we weren't + strong enough to do - this might + finally make you grow up. + +Ransom is really slapped by this but he doesn't let it +show. + + LINDA + I think it might be the best thing + that could happen to you. + + RANSOM + Thanks - my mother, folks. + + JONI + 69. + + + It won't be easy for you but it'll + be good. Nothing good is ever easy. + + RANSOM + Up your ass Joni, you've got your + teeth bit into this family tit so + hard + + MEG + Oh 'up your ass' very nice you + homophobic privileged - + + RANSOM + (going down the line) + As a matter of fact - Eat shit, + hows that? In fact eat shit, eat + shit - eat shit - Definitely eat + shit. Eat shit. + + And now everyone is shouting at each other. + + Blanc has heard enough. He sets the baseball down on a side + table, and drifts out. Marta follows him. + + +103 EXT. FRONT PORCH 103 + + Blanc breathes in the air. Marta joins him. From inside the + house, the shouting continues. + + MARTA + What was that about will readings + being boring? + + BLANC + Exception that proves the rule. + + Fran bursts out of the living room, muttering + + FRAN + Asshole. + + She storms off around the house. A beat of thought. Then: + + BLANC + I'm warning you. Ransom said. I'm + warning you. + + One of the dogs bounds up the steps to Blanc. + + MARTA + You heard Ransom in there, it's the + kind of thing he says. + 70. + + + When Blanc goes to pet him, the dog drops something to his + feet with a clatter. Marta freezes. + + MARTA + What's he got there? Hey boy. You + find a stick? He's always bringing + junk into the house - + + It's the piece of broken trellis. Blanc picks it up, + examines it, and suddenly his eyes go sharp. + + +104 EXT. THROMBEY ESTATE SIDE YARD 104 + + Holding the piece up as he studies the trellis that runs up + the side of the house. Marta runs up beside him. + + BLANC + This looks like a relatively fresh + break - yes. Right there. + + He's spotted the broken spot on the trellis. Just up from + it, what looks like a boarded window. + + BLANC + Wait - that doesn't make sense, + where's that window? + + +105 INT. LIVING ROOM 105 + + The whole family in a screaming match, but Blanc and Marta + walk through and up the stairs. Three people notice: + Elliott and Wagner (who follow) and Ransom (who doesn't.) + + +106 INT. THIRD FLOOR LANDING 106 + + Blanc looks down the "dead end" hallway. Marta joins him, + out of breath. + + BLANC + Show me, but don't step on the + carpet. + + It's a runner rug, and Marta delicately steps on the wood + siding as she goes to the wall with the painting. And + swings it open, revealing the window. + + TROOPER WAGNER + It's the trick window! From "A Kill + For All Seasons!" + 71. + + + Elliott and Wagner at the top of the stairs, and Blanc + motions them not to approach. + + BLANC + Off the carpet! + + He drops down to his knees, removes a loupe from his + jacket, and holds it in his eye. Then, his face inches from + the carpet, he scans it. All the way to the window. Then + stops. + + BLANC + Traces of dried mud. I suspect they + go the length of the hallway. + + MARTA + Footprints? + + BLANC + No, just traces. + + LIEUTENANT ELLIOTT + Depending on when it was last + cleaned, it could be from anytime + + BLANC + But that would not explain this. + + He motions to the base of the window sill - obvious scuffs + of dried mud. Marta winces. + + Blanc tosses the piece of trellis to Elliott. + + BLANC + Analyze this mud. It will match + these traces, and you will find + similar samples leading up the + trellis on the side of the house. + (beat) + On the night of the party, somebody + who did not want to be heard + climbing the steps went to a great + deal of trouble to break into + Harlan Thrombey's rooms. The game + is afoot, eh Watson? + + +107 INT. LIBRARY - MINUTES LATER 107 + + The whole family assembled. Marta stands in the back, with + Blanc, Elliott and Trooper Wagner. + 72. + + +Alan Stevens, Harlan's attorney, sits at a table with +papers in front of him, assistant Sally beside him. + + ALAN + Well. Thank you all for getting + together like this, it isn't + legally necessary but I thought + because you're all in town and some + of you are leaving soon, it would + be best - + + BLANC + Excuse me Mr. Stevens. As to that, + ladies and gentlemen, I'd like to + gently request you all remain in + town until the investigation is + completed. Shouldn't be more than + two days. + + LIEUTENANT ELLIOTT + He's gently requesting, I'm + ordering. Nobody move until we + figure this out. + +Nobody likes this. + + LINDA + What? + + JONI + Can we ask why? Has something + changed? + + BLANC + No. + + JONI + No it hasn't changed or no we can't + ask? + + BLANC + Mr. Stevens, please continue. + + ALAN + 73. + + + Right. Well the other reason I + thought this gathering would be, + uh, beneficial is that as I told + Walt, Harlan altered his will one + week ago. He sealed it and asked me + not to submit it to the courts for + probate until after his death. So + in case there's any confusion about + anything we're all together, we can + talk. I can't imagine any of it + will be that complicated, Harlan's + assets included um + + SALLY + ...the house + + ALAN + the house which he owned outright, + um + + SALLY + sixty million + + ALAN + right in various cash accounts and + investments, yes and of course the + real assets are sole ownership of + um + + SALLY + Blood Like Wine + + ALAN + Blood Like Wine publishing, his + publishing company. Ok. + +Walt's wife puts her hand on his knee. He squeezes it, +smiled tightly. + + ALAN + Um, he did write up a statement + when he made the recent changes, he + wanted it read first, so: + (reads) + "Some of you may be surprised by + the choice I've made here. No + pleasure was taken in the + exclusion, and its purpose was not + to sow greater discord in the + family, quite the opposite. Please + accept it with grace and without + bitterness. But do accept it. It's + for the best." + 74. + + +Gently condescending eyes shift to Ransom. Linda sees this, +puts her hand on her son's hand, and he immediately gets up +and moves to a chair in the corner. + +Alan's assistant hands him an envelope and he removes a +single sheet of paper with one short typed paragraph. + + ALAN + Ok. So - oh wow, yeah, not complex + at all. This'll be quick. "I Harlan + Thrombey, being of sound mind and + body, yada yada, my assets both + liquid and otherwise, I leave in + their entirety to Marta Cabrera. My + entire ownership of Blood Like Wine + publishing I leave in its entirety + to Marta Cabrera. The copyright of + its catalog likewise I leave in its + entirety to Marta Cabrera. + +The air around Marta's head goes away. The room spins She's +not sure what's happening. Blanc is looking at her. + +The whole family is looking at her. + +Walt bursts out of his chair and grabs the will + + WALT + No. + + LINDA + No. + + WALT + No. What? + (beat) + That can't be - that can't be right + + RICHARD + What the genuine shit + + WALT + That can't be right it's right + + ALAN + It's right + +Donna begins to hyperventilate. She puts her head between +her knees, breathes deep. + + LINDA + No no no no Alan this can't be + legal, there are, we're his family + 75. + + + WALT + We're his family, Alan he obviously + wasn't, something - I don't know + what but something wasn't right + here + + RICHARD + Are there safeguards against this? + +And from the back of the room, slowly rising above the din +of confusion and cursing, slowly drawing even Marta's deer +in the headlights attention... Ransom. LAUGHING. Loud and +weirdly sincerely, tears down his cheeks, laughing his head +off. + + JONI + Alan there's a mistake + + MEG + Mom if it's what granddad wanted + + JONI + No this is a mistake, this is ours. + + LINDA + Alan take that piece of paper and + shove it up your ass and get out. + And you cops, out! + +They don't but Ransom slips out, his child-like laughter +trailing after him. + + RICHARD + Linda - + + LINDA + No, we need to talk and we need to + fight this thing and we're not + going anywhere. GET OUT! We're the + Thrombeys goddammit! This is still + our house! + +A beat of silence. Then all eyes go to Alan. Who looks down +at the will. His assistant Sally points helpfully. + + ALAN + Sorry, there's, uh. "Likewise the + house at two Deerborn Drive and all + belongings therein I leave to Marta + Cabrera. + +Linda goes for Marta. + 76. + + + LINDA + You little bitch. Did you know + about this? What did you do to him + to make this happen, were you two + what were you boinking my father? + + Marta recoils, stumbles back. + + MEG + 'Boinking?' + + RICHARD + Linda! + + JACOB + Anchor baby. + + WALT + Marta! Jacob! And Linda - please! + + JONI + Linda please - Marta, you need to + tell us though, + + WALT + Yes Marta, did dad discuss this + with you? + + JONI + You need to tell us everything you + know about this and we need to talk + about this, + + WALT + This isn't what dad wanted, this + isn't fair but we can work this out + + RICHARD + Jesus don't mob the girl, let's + talk about this + + The whole family is coming towards her like zombies. Blanc + takes her by the arm and steers her towards the door. + + BLANC + I think heads have to cool a + little, and in the meanwhile I'd + maybe run. + + +108 EXT. THROMBEY ESTATE FRONT DRIVE 108 + 77. + + + Marta stumbles out of the house in a daze. Behind her, the + entirety of the family floods out after her, shouting + reassurances and questions and accusations and a general + din of confusion. + + MARTA + I - I have no idea why he - I just + need to think - I'll call you or + have him call me or do something I + don't know + + She gets in her car and slams the door, and it's instantly + like A Hard Day's Night - the family gathered around trying + to talk through the window and rapping to get her + attention. + + Marta keys the ignition - chug chug chug. Nothing. Oh god, + not now - chug chug chug. It won't turn over. + + Richard opens the door, she pulls it closed again and locks + it, this is like a horror movie. Blanc is trying to get the + family to back off but no dice. + + Marta puts her head in her hands, all of it swirling and + echoing and horrifying, she has no idea what to do. + + HONK! + + She turns - a honking car pulls up right beside her and + through the family crowd she sees Ransom in his Porsche, + waving "get in." With no other options she pushes out of + her car and through the family and JUMPS IN with him. + + As he GUNS IT and careens out of the driveway he shouts + back at the family with a wave + + RANSOM + I think this could be the best + thing to happen to all of you! + + And they're gone. The family keeps shouting at each other. + + Blanc watches the Porsche recede, his expression + unreadable. + + DING! His phone buzzing. He checks it. His expression + darkens. + + +109 INT. RANSOM'S PORSCHE 109 + 78. + + + Tearing down the private road, away from the house. He's + still laughing, she's still shell shocked. Slowly, his + laughter eases to a stop. A moment of silence. + + RANSOM + Ok seriously though, what the hell? + + She shakes her head, looks at him. What the hell indeed. + + +110 EXT. ROADSIDE FAMILY RESTAURANT - LATER 110 + + The Porsche parked out front. + + +111 INT. RESTAURANT - CORNER BOOTH 111 + + Tucked into a dark corner, Marta is miserable. Ransom is + bemused, but regards her closely. + + They sit in silence. A waitress sets a sausage plate down. + + RANSOM + (to the waitress) + Could we get an extra bowl please? + (to Marta) + You look like you're gonna pass + out. Have you eaten all day? Eat. + + She joylessly shovels food in her mouth, starving. + + MARTA + This is a nightmare. + + RANSOM + Uh huh. So why. + + MARTA + Why + + RANSOM + Why. Hey, this is everything. There + has to be a bigger reason why and + you know it. + + MARTA + Well Ransom how about it had more + to do with you guys than with me. + + RANSOM + (agrees) + Yeah. + (beat) + 79. + + + Yeah that's the only thing that + makes sense. + +Marta is unexpectedly effected by this. The waitress +breezes by, sets an empty bowl on the table. + + MARTA + Did he tell you anything? + + RANSOM + Just I wasn't getting a cent. + + MARTA + He wanted you to build something + from the ground up, like your + parents + + RANSOM + something from the ground up, like + my parents + + RANSOM + yeah. My mom built her business + from the ground up with a million + dollar loan from granddad. My dad + owns none of it, and mom made him + sign a prenup. He lives in fear. I + know that's what granddad wanted to + protect me from by doing this, and + I know I shouldn't say this out + loud but when he told me, Jesus + Christ I coulda killed him. + (beat) + After I left the party, though. I + was driving fast, nowhere, just in + the night. And I got this weird... + clarity. That from here on I was + going to have to do for myself. And + that felt... good. The old bastard. + (beat) + Marta I know three things. One: I + know he didn't commit suicide. + + MARTA + What makes you think that + + RANSOM + I don't think it. I know it. Cause + I knew my granddad. So you're not + going to bullshit me. Because two: + I know lying makes you puke. Cause + of that mafia game last fourth of + July. + 80. + + + Marta sinks back, suddenly nervous. + + RANSOM + And three. I know that you just ate + a full plate of sausage and baked + beans. + + She looks down at her empty plate. Oh no. He pushes the + large empty bowl in front of her. + + RANSOM + So look me in the eye. And tell me + what really happened to my + granddad. + + Her lip quivers. She looks like she might attempt it. But + then tears drop from her eyes. + + MARTA + You bastard. + + Ransom pull the bowl away, and puts his hand on hers. + + RANSOM + Marta. Tell me everything. + + +112 EXT. THROMBEY ESTATE - EVENING 112 + + Dusk settles heavy. Warm light from the windows. + + WALT (O.S.) + There have to be options here. + + ALAN (O.S.) + No. I don't know how many times I + can repeat the same two simple + pieces of information. + + +113 INT. LIVING ROOM - EVENING 113 + + Lit by a fire in the fireplace, the whole family pacing + around, Alan the lawyer looking very tired seated at a + table in the center of the room. + + ALAN + If Harlan was of sound mind when he + made the changes, and we've all + confirmed he was + + RICHARD + 81. + + + Would a sound person do this! Sound + how? + + LINDA + The very action speaks to + unsoundness! + + ALAN + not legally no, you not liking what + they did does not speak to + testamentary capacity. + + JACOB + What about undue influence? + + WALT + Yes! Undue influence! + + ALAN + (weary) + Did you just google that? + + WALT + If Marta was manipulating dad + somehow, if we found out that she + had + + LINDA + Gotten her hooks into him + + WALT + Somehow or something + + ALAN + You need a strong case for that. + You've got nothing. "She endeared + herself to him through hard work + and good humor" won't cut the + salami. + + JONI + What about the slayer rule? + +All eyes turn to her. Her face is lit by her phone. + + JONI + I did just google that. + + ALAN + The slayer rule obviously does not + apply here. + + RICHARD + 82. + + + What the hell is the slayer rule? + + JONI + It's if someone is convicted of + killing the person they can't get + their inheritance. + + ALAN + Not even convicted, even if they're + held responsible for their death in + civil court + + WALT + Like OJ + + ALAN + Like OJ, yes. But Harlan committed + suicide. + +All eyes turn to Blanc, who this whole time has been +sitting in a chair by the fire, lost in thought. + + JONI + Detective Blank. You said that the + investigation is continuing. You + made a point of that. Do you + suspect foul play? + + BLANC + Mister Blanc. If you please. + (beat) + There is much that remains unclear. + But yes. I suspect foul play. + +The eruption you would expect breaks out. + + RICHARD + Marta? + + BLANC + I have eliminated no suspects. + + RICHARD + You're full of shit, I don't trust + this guy in the tweed suit, and + Alan god bless you you're useless. + + ALAN + Thank you. + +Alan takes that as an excuse to leave. + + RICHARD + 83. + + + There's one answer to this: she can + renounce the inheritance. + + WALT + She knows it's what she should do, + it's the right thing to do. + + LINDA + We've gotta make her do theright + thing. + + Meg rounds on her mom, speaks quietly, in tears. + + MEG + Mom. If Granddad wanted Marta to + have everything, that's what he + wanted. + + JONI + No, this was not him. He loved us, + he wanted us taken care of. He + wanted you to have an education. + + JONI + Meg. You think I can pay for your + school? + + This leaves Meg shaken. + + +114 INT. RESTAURANT - NIGHT 114 + + Beer bottles now stacked up in front of Ransom. Marta has + just told Ransom everything. He stares into space, and + makes the slightest hint of a laugh which I'll write as: + + RANSOM + Heuh. + + MARTA + I know, just saying it it sounds + insane but it's all true. I think + Blanc's been on to me from the + start - I don't care if I go to + jail, but my mom... my sister, we + can't - + + Nothing but silence from Ransom. Maybe he's deep in + thought. A strange glint in his eye. + + MARTA + You going to say something? + 84. + + + RANSOM + I always thought I was the only one + who could beat Granddad at GO. I + always thought that meant + something. + + MARTA + I know you did. + + RANSOM + At the party, that night, my last + conversation with him, our last + fight, that's what he told me, + about you. That you beat him nearly + every time. More than me. And I + thought what a strange thing to + tell me. But I think I get it now. + I think it did mean something. + (beat) + I'm not telling the family shit. + You're not going to jail. That + detective is not going to catch + you. And you're not giving up the + family fortune. + + RANSOM + Think about what Granddad did to + see this through, this was what he + wanted not just for you but for his + family, and for him. And yes for + you. You've come this far. Let me + help you go all the way. + +Marta looks at him hard. + + MARTA + This isn't you. You could turn me + in right now and get your cut of + the inheritance. Why? + + RANSOM + Because fuck my family. They don't + deserve any of this. I can help you + and we can fool them all and get + away with it... and then you will + give me my cut of the inheritance. + The perfect ending, we all win. + You, me and Harlan. Deal? + +Silence. Broken by Marta's phone ringing. On the phone ID - +"MEG T" + +Marta takes a breath, looks at Ransom. And picks it up. + 85. + + + MARTA + Meg + + MEG (ON PHONE) + Marta. Oh that was nuts. + + MARTA + I know + + MEG (ON PHONE) + Are you ok? + + MARTA + Yeah are you? + + MEG (ON PHONE) + I'm fine, I mean everyone's nuts, + they're all going, I don't know, + they've lost it. No one knows I'm + calling you, I wanted to - I don't + know what I wanted, I wanted to say + sorry for how everyone was. + + MARTA + No... + + MEG (ON PHONE) + And... I guess I wanted to ask... + (beat) + What are you going to do? + + MARTA + What do you mean? + + MEG (ON PHONE) + Well the... with the, will. What + are you going to do? + +Marta looks at Ransom. What indeed. + + MARTA + What do you think I should do? + + MEG (ON PHONE) + 86. + + + You should do what you think is... + right. I think you should give it + back to us. Granddad always took + care of us, we're his family, I + know he was like family to you but + we're his actual family. Marta you + know this isn't fair, we've always + been good to you and we're going to + take care of you, everyone loves + you and you're like family and + we'll take care of you but you have + to make things right, you know + what's right. + + Marta, keeping eye contact with Ransom. Then, her voice + quavering, Meg drops what is for her the big bomb: + + MEG (ON PHONE) + Marta, mom's broke, she says I'll + have to drop out of school. + + MARTA + No, no. I won't let that happen. + (beat) + Whatever money you need Meg, I'll + help you. I don't want you to + worry. + + +115 INT. DRAWING ROOM - NIGHT 115 + + Meg on the phone. Her face horrified, mortified, barely + comprehending what she's just heard. + + MARTA (ON PHONE) + I'll take care of you. I promise. + + MEG + Thanks. + + MARTA (ON PHONE) + And once I get the - + + Meg hangs up, lets the phone drop from her ear. Tears in + her eyes. She turns to her whole family gathered behind + her, silent and expectant. + + +116 INT. RESTAURANT - NIGHT 116 + + Marta realizes the connection's dead, holds the phone in + her hand like something delicate she just broke. + 87. + + + RANSOM + Ok then. Did the detective find + anything suspicious at the house? + + MARTA + (in a daze) + Mud. Tracks upstairs - where I + broke in through the window. + + Ransom winces. + + RANSOM + Identifiable prints? + + MARTA + No. + + RANSOM + Good. Ok. Good. Hey. You've just + gotta ride the next few days out + until the investigation putters + out, cause it will, cause no matter + how sharp this Blanc guy is he's + got nothing. Relax. + + +117 INT. MARTA'S BEDROOM - EARLY MORNING 117 + + She wakes to a sharp rapping at her door. Her sister Alice + pokes her head in, flustered. + + ALICE + Marta get your ass up, what the + hell is happening? There's a guy + here and a bunch of stuff, + everything's going crazy, are we + rich?? + + Marta lifts her head from her hands. + + MARTA + Maybe, I dunno. + + ALICE + I don't even know what that means + but you better get your ass up. + + Marta looks at her phone - 28 missed calls. + + +118 INT. CABRERA LIVING ROOM 118 + + Marta stumbles in - Alice in front of the TV, mom pacing. + 88. + + + MOM + (subtitled Spanish) + Oh my god Marta what is all this, + what did you do? + + The TV is tuned to local news - an anchor stands outside + THEIR APARTMENT BUILDING. + + LOCAL NEWS ANCHOR (ON TV) + ...we again we don't know much + about Marta Cabrera or the exact + relationship she had to Harlan + Thrombey, beyond being his home + nurse, and the Thrombey family has + yet to release a statement... + + MARTA + Is that here? + + ALICE + Oh yeah it is. Wait so is that + true? Are we rich? + + Marta looks out the blinds - several local reporters down + in the streets with their vans and cameras. + + MARTA + Oh my god. + + +119 EXT. THROMBEY ESTATE FRONT DRIVE - DAY 119 + + Wagner's prowler pulls up. Blanc gets out of the passenger + side. + + Blanc nods to the Wagner and the officer. + + +120 INT. GREATNANA'S ROOM 120 + + Dim. By an open window stands GREATNANA. Blanc enters, she + turns. They look into each others eyes. + + BLANC + Good Morning Mrs. Thrombey. + + A long pause as he thinks of exactly the right word. + + BLANC + 89. + + + Why is grief the providence of + youth? I don't know. But I'd + imagine that age deepens all + feelings. Including grief. This was + a long walk to offering condolences + for the loss of your son. And + asking you if it isn't presumptuous + of me to not think too harshly of + your family, if I am as I suspect + the first to console you. They're + young aren't they. + + Blanc sits. + + BLANC + One thing I do assume of age is + weariness. Damned if I don't get + more tired every day. Tired of what + I do. Following arcs, like lobbed + rocks. The inevitability of truth. + But the complexity and the gray + lies not in the truth but what you + do with the truth once you have it. + + Greatnana's eyes move slightly. + + BLANC + I think you have something you want + to tell me. I think you're very + perceptive and very capable of + telling me what you saw the night + of your son's party. But I'll + happily wait. I'm in no rush. I + find it quite pleasant. Sitting + here with you. + + He reclines, not particularly looking at her. She looks + back at him. Every now and then a breeze stirs the window + sheers. + + +121 INT. CABRERA LIVING ROOM 121 + + MOM + Lawyers were here, very big lawyers + it looked like, and some other guys + I didn't know, they left all this + for you and business cards, so many + business cards, and there was a + pile of other stuff when I got home + - + 90. + + + Mom shovels some official looking legal letter and courier + envelopes into Marta's arms. + + MOM + (subtitled Spanish) + Hey. I don't like this. + + MARTA + (subtitled Spanish) + I don't like it either mom. I'm + slipping out the back - I'll be + back later, don't talk to anyone. + + +122 INT. APARTMENT BUILDING HALLWAY 122 + + Dim and dingy. Marta comes out of their apartment door, + then jump, startled - at the end of the hall, lurking: + Walt. + + MARTA + Hey. + + Walt's eyes are rimmed red. His heavy cane taps. + + WALT + Hey. + + They're not sure what to do so they awkwardly hug. Marta + still has the envelopes in her hands. + + WALT + How you doing? + + MARTA + Well. Walt I want you to know I + didn't know about any of this. This + is + + WALT + I know you didn't, we all went + kinda crazy yesterday + + MARTA + Understandable + + WALT + You're still very important to all + of us, I want you to know that. + + MARTA + 91. + + + I haven't even looked at all this + yet, this legal stuff, is this from + you guys? + +Marta flips through the envelopes, squinting. + + WALT + it isn't from us. Maybe just local + lawyers and accountants who saw the + news and want to jump on it, I'd be + careful of it all. + +One envelope sticks out - a blank plain letter sized +envelope, no postage, no return address. + + WALT + Marta. Is it your intention to + renounce the inheritance? + + MARTA + This is what Harlan wanted. + + WALT + Well. Harlan has put you in a very + hard position here. It was unfair + of him. + +Walt's hand on his cane. Gripping tight. + + WALT + You see what this kicks up with the + press and the scrutiny, and we + know... with your mother... + + MARTA + ...with my mother. + +Marta's spine straightens. + + MARTA + What did Meg tell you. + + WALT + This isn't about who - you're + missing the point, we're not + attacking you with this. + + WALT + 92. + + + Marta if your mom came here + illegally, criminally, if you come + into this inheritance with the + scrutiny that entails I'd be afraid + that could come to light. That's + what we're all trying to avoid + here. We can protect you from that + happening, or if it happens. + + MARTA + You're saying even if it came to + light, with the family's resources + you could help me fix it. + + WALT + Yes. The right lawyers, none of + those local guys but New York + lawyers, DC lawyers, enough + resources put towards it, yes. But + there's no need it should ever even + come up. But yes. + + MARTA + Ok. Good. + + WALT + Ok? + + MARTA + Cause Harlan gave me all your + resources. So that means with my + resources I'll be able to fix it. + So I guess I'm going to go find the + right lawyers. + + WALT + Marta. + + He shuffles towards her. For the first time she feels a + hint of physical threat, and backs up quick into her + apartment. + + WALT + You better be sure you want to - + + She slams the door + + +123 INT. CABRERA KITCHEN 123 + + and leans against it, breathing hard. But angry and + focused. She dumps the legal envelopes in the trash but + keeps the mysterious envelope, opens it and pulls out: + 93. + + + Half a sheet of paper, roughly torn. A photocopy of the + header of some sort of medical document, "OFFICE OF THE + CHIEF MEDICAL EXAMINER" Under that, a photocopy of a tag + with her name on it. And hand written in block letters at + the top: "I KNOW WHAT YOU DID." + + Marta's phone BUZZES, and she jumps. Caller ID: "maybe B + BLANC". She hesitates, then sends it voicemail. Looks at + the mysterious letter in her hands. + + +124 INT. RANSOM'S LIVING ROOM 124 + + Ransom studies the mysterious letter. Marta pushes aside a + stack of New Yorkers and sits on the couch. + + RANSOM + Well I don't know what this is from + + Indicating the tag photocopy with her name. + + MARTA + It's my medical bag tag. They have + my medical bag. For some reason. + + RANSOM + OK, but this is just a photocopy of + the header of a blood toxicology + report, from the local crime lab. + On Harlan. Marta, it would show the + morphine overdose. + + MARTA + So I'm screwed! How do you know all + this stuff? + + RANSOM + I was Harlan's research assistant. + For a summer. + + He sips his morning coffee. + + RANSOM + But what kind of blackmail scheme + is this? I mean the actual evidence + is sitting up the street at the + crime lab. What was the point of + sending you this? + + +125 EXT. NORFOLK ROADS 125 + + Siren blazing, the cop car SPEEDS into town. + 94. + + +126 EXT. MEDICAL EXAMINER'S OFFICE 126 + + The cop car pulls past an identifying sign into the parking + lot of a one story stand alone building, joining several + other cop cars, and fire trucks. Journalists kept at bay. + + The building is a charred brick husk. Black smoke, debris. + + It's been gutted with an explosion and a blazing fire. + + Blanc steps out of the cop car and finds Lieutenant + Elliott. + + BLANC + What's the cheese? + + LIEUTENANT ELLIOTT + Five AM, security systems here was + all triggered. It went up quick. + Blood stores, records, all gone. No + employees around, thank god. + + BLANC + Any surveillance cams? + + Elliott gestures wearily to the charred remains of a + security camera on the smoking shell of an awning. + + LIEUTENANT ELLIOTT + And speaking of security, the + security tape from the Thrombey + residence was scrambled. For some + reason. + + Blanc unsurprised. He motions back to the building. + + BLANC + What was still pending from the + autopsy? + + LIEUTENANT ELLIOTT + The report on the blood work. + + BLANC + Blood work? + + Blanc chews on this. + + Across the street, Marta and Ransom pull up in her car. + + +127 INT. MARTA'S CAR 127 + 95. + + + MARTA + Holy shit. This is insane. + + Ransom looks at her - yeah it's likely. They both + instinctively duck down in case the cops look over. + + MARTA + Who would blow up a whole real + official building just to blackmail + me? + + RANSOM + Marta this means that the + blackmailer has the only paper copy + of the thing that can prove your + guilt. You didn't get any other + instructions, no phone call no + email, no nothing? + + Marta looks stunned. She stabs at her phone, quick swipes. + + MARTA + ...nothing...I didn't check my + email. + + She shows him an email from 092832@shushmail.com. No + subject line, simple text: 1209 Columbus Rd 10AM + + RANSOM + That's it. 1209 Columbus Road, + 10am. + + Marta looks at Ransom, then at the clock on her dashboard - + 9:32, then at the charred building. + + +128 EXT. MEDICAL EXAMINER'S OFFICE 128 + + Blanc looks around, deep in thought. He spots Marta's car. + + +129 INT. MARTA'S CAR 129 + + Marta peeking up through the window. + + Blanc sees her. She sees him. Ducks back down. Shit. + + RANSOM + You know what this means right? If + you destroy that copy you are + totally within the clear. + 96. + + + Blanc begins to walk straight towards Marta. Quickly and + with purpose. Shouts something, Lieutenant Elliott follows. + + RANSOM + Marta. Did you hear me. + + Marta peeks again - Blanc coming at them full speed. Twenty + paces from the car. Closing in fast. + + MARTA + Yeah. + + She sits up, throws the car in gear and FLOORS IT. + + +130 EXT. MEDICAL EXAMINER'S OFFICE 130 + + Her subcompact PEELS OUT and buzzes off down the road. + + Blanc, crestfallen, runs back towards the cop cars in the + parking lot, shouting at Elliott, who flags a cop. + + +131 INT. MARTA'S CAR 131 + + The whine of the engine, Ransom puts on his seat belt. In + the rear view, siren lights as cop cars pour out of the + parking lot in pursuit. + + MARTA + You regret helping me yet? + + RANSOM + I regret not taking the beamer. + + Her phone buzzes - Blanc calling. IGNORE. + + +132 EXT. NORFOLK ROADS 132 + + Marta buzzing down the road, cop cars a quarter mile back. + + +133 INT. COP CAR 133 + + Blanc in back, Elliott in front, Trooper Wagner driving. + + TROOPER WAGNER (ON RADIO) + Vehicles in pursuit in Washington + Street + + LIEUTENANT ELLIOTT + 97. + + + (into radio) + No force - repeat that. Possible + murder suspect. + + Their speedometer creeping up on 85 + + +134 INT. MARTA'S CAR 134 + + Marta's speedometer creeping up on 55. + + MARTA + Oh my god oh my god oh my god I am + literally flooring it + + RANSOM + Are you flooring it? + + Her phone rings - Blanc again. She looks over - cop cars + are RIGHT ALONGSIDE them. Blank holds his phone up, looks + at her quizzically. Points to the phone. + + RANSOM + This is going well. + + MARTA + This is stupid, I'm pulling over + + RANSOM + If you miss your shot at getting + that tox report it's all over... + + MARTA + Aaauuuuuawwwaaagghhhh + + She hits the brakes. + + +135 EXT. NORFOLK ROADS 135 + + Marta's car PEELS TO A STOP and the two COP CARS on either + side blaze by, hitting their brakes. + + She pulls off onto a SIDE STREET and into narrower city + streets, down narrow alleys, using her small car to nimbly + dart though small spaces. + + The cops can't follow, and she loses them. + + She pulls to a stop in a secluded little back lot. + 98. + + +136 INT. MARTA'S CAR 136 + + Marta, breathing hard. Ransom is shocked. + + MARTA + Ok. I'm all just pure adrenaline + now it's like I swallowed bees. + What's the the whatsitcalled + address ok. And I just - I mean + whatever they want, I just say yes + right, just to get that report + back. And destroy it. Ransom. Thank + you. I couldn't do this without + you. + + RANSOM + 1209 Columbus road. And destroy it. + + He smiles slightly. A quick moment of silence between them. + + Then: RAP RAP RAP on Ransom's car window. + + Blanc. Standing right outside. Marta looks in her rear view + - the cop car has pulled up silently behind them. + + Another pulls up in front. + + +137 EXT. PARKING LOT 137 + + Ransom and Marta step out of the car, hands raised for some + reason. + + LIEUTENANT ELLIOTT + That was the dumbest car chase of + all time. Put your hands down. + + BLANC + (to Marta) + I spoke to Wanetta Thrombey, + Greatnana. The night of the party + she saw someone climb the trellis + to the third floor. + + LIEUTENANT ELLIOTT + Mr. Drysdale, come with us please. + + Elliott leads Ransom off by the elbow. Ransom throws a look + back at Marta - he has no idea what's going on. + + MARTA + What's going on? + 99. + + + BLANC + "Ransom came back" she said. I + don't know what he came back to do, + but we'll find out. + + Marta looks at Ransom - oh no. Senile Greatnana thought she + was him. This is a mistake. But... she glances at her watch + - 9:51. + + BLANC + Did he ask you to drive when he saw + me coming? + + Ransom's being led to the police car. Marta decides: + + MARTA + Yes. + + Marta gets back in her car. She pretends to take a sip from + an empty soda cup, but actually SPITS UP a little into it. + + LIEUTENANT ELLIOTT (O.S.) + Blanc. Coming with us? + + BLANC (O.S.) + (to Elliott) + I'll drive with Marta. + + To Marta's horror Blanc opens her passenger door. + + BLANC + Let's go to the police station, I + want a full run down of everything + he said to you, and I can catch you + up on where we're at. + + +138 EXT. NORFOLK ROADS 138 + + Cop cars coast through town, Marta's bringing up the rear. + + +139 INT. MARTA'S CAR 139 + + Marta glances at the dashboard clock - 9:55. Blanc, casual: + + BLANC + Strange case from the start. A case + with a hole in the middle. A donut. + I'm just talking through my process + here, let me know if this is + boring. + 100. + + + Marta's arms are locked, her eyes steal a glance at the + clock - 9:58. + + BLANC + I feel the noose tightening - the + family are truly desperate. + + BLANC + Desperate motives, the mystery of + who hired me, the impossibility of + the crime, and yet - + + Up ahead, a street sign - "Columbus Road." Marta tenses. + + BLANC + A donut! One central piece, and if + it reveals itself the fog would + lift, the arc would resolve, the + slinky become unkinked + + MARTA + Do you mind if I stop for a second. + I need to pick something up. It + will be very quick. + + BLANC + Sure. + + +140 EXT. NORFOLK ROADS 140 + + Marta's car makes a sharp turn, leaving the cop caravan. + + +141 EXT. 1209 COLUMBUS ROAD 141 + + A row of storefronts - 1209 is vacant. Marta's car pulls a + few stores past it. She gets out of the car. + + MARTA + I'll just be a few minutes. + + Marta runs into a bustling hair salon. + + +142 EXT. BACK ALLEY 142 + + Marta ducks out the back door of the salon, goes two doors + down to 1209, and slips into the back door. + + +143 INT. 1209 COLUMBUS ROAD 143 + 101. + + +Dark, empty retail space. Lit only by the painted-over +front windows. Marta edges her way in, her eyes still +adjusting from the sun. + + MARTA + Hello? + +Her foot hits something on the dirty concrete floor. + +HER MEDICAL BAG. + +She kneels, picks it up gently. + +Next to where it was lying, she finds something else +curious - the burned remnants of a piece of paper. Only a +charred corner remains. + +She turns her attention back to the room. Creeps forward. + + MARTA + Hello? + +Ahead - a silhouette. A person. Seated in a chair, in the +center of the room. Silent, facing her. + + MARTA + Listen I don't know what you want. + Whatever you want we can work it + out, but we have to figure it out + right here, right now, and I'm + leaving with that report. + +A beat of silence. Nothing. Something's not right here. + + MARTA + Hello? + +Marta takes a step closer, lifts her phone, and turns on +its flashlight. + +Illuminating the ghostly face of FRAN, the housekeeper. + +Marta, barely breathing: + + MARTA + Fran? + +A SPIDER crawls across Fran's face. Marta STIFLES A SCREAM +and leaps back, sucking in air. + +A moment of stillness. Her phone BUZZES - Blanc calling. + 102. + + +Marta ignores the call, frozen. + +Her eyes go to: A white letter sized ENVELOPE in Fran's +hand, resting on her lap. + +Marta swallows. Leans in, carefully and quietly for some +reason, and SLIPS the envelope from the lifeless fingers. + +Unsealed. She opens it. + +It is empty. + +Before this can even sink in, a rattling, grating DRAW OF +BREATH - from Fran. + +Marta starts - oh my god - and goes to her, checking a +pulse, checking her eyes, lays her on her back. Fran sucks +in thin breath, her eyes finding Marta in the glare of the +dropped phone flashlight. + + MARTA + Fran! Fran! Can you hear me? Fran, + give me a sign if you can hear me! + + FRAN + You + + MARTA + Me? Fran it's Marta, you called me + here, you sent me the email, I'm + here. I'm going to call an + ambulance and you're going to be ok + but can you tell me what happened, + did you take something, what's + happened to you - + +Weak, Fran grabs Marta's wrist, and Marta focuses on her. + + FRAN + ...copy... copy + + MARTA + What? + + FRAN + ...stashed... + +These words are barely given breath: + + FRAN + you... did this... won't... get + away.. with this + 103. + + + Her eyes seize. Her breath gets ragged. Marta is paralyzed + with shock and fear. Fran is dying. + + Marta looks at the medical bag in her hand. Then at Fran, + struggling with her final breaths, eyes wide with fear. + + She takes a step back from the dying Fran. Fingers tight + around the medical bag. Letting her die. + + But then, a decision: no. Marta dials 911 on speaker, drops + to her knees and starts administering mouth to mouth. + + PHONE + 911, what is your emergency? + + +144 EXT. 1209 COLUMBUS ROAD 144 + + Blanc sitting in the car, singing softly to himself. + + BLANC + Sometimes I stand in the middle of + the room... not going left... not + going right... + + He looks at the hair salon - what's taking so long? And + then sirens, as an AMBULANCE pulls up two doors down, and + EMT's run into the abandoned storefront. + + BLANC + Oh lord. + + HARD CUT TO: + + +145 INT. HOSPITAL WAITING ROOM - LATER 145 + + Marta and Blanc sitting silently in the fluorescent-lit + waiting room. Marta with her face in her hands. Blanc is on + his phone, mostly listening. + + BLANC + (listens) + Alright my friend, thank you for + the update. No I'm here with her. + No need for that, I'll bring her in + once we get word that the + housekeeper is stable. It's still + touch and go. + (listens) + Alright. + + He hangs up. Marta looks at him. + 104. + + + MARTA +This is over. People are getting +hurt. I'm going to tell you the +truth. + + BLANC +Young Ransom just told Lieutenant +Elliott everything. Who just told +me everything. + + MARTA +Good. Wait god I hope he didn't +cover for me, did he tell the real +truth, about me switching theAnd +the disguise and all theAnd the +blackmail with the + + BLANC +Yeah Yes Mm. + + MARTA +But why did Fran take my morphine? +Obviously she had swiped my bag +from the house, but she didn't seem +like a user to me, unless that's +why she needed money... + (beat) +I dunno, doesn't matter. I should +tell the Thrombeys myself, I feel +like I owe that to them. + + BLANC +I don't think that's a good idea + + MARTA +No, I need to do it. I won't do any +of this if I can't do that. I +really need to. I gave the doctors +my number, they'll call if anything +changes with Fran. + + BLANC +We'll round up the Thrombeys at the +house, along with a police escort. + + MARTA +For the arrest after. + + BLANC +You can tell me your whole story on +the drive over. I want no more +surprises. + 105. + + + Marta stands, a dead man walking, resigned. + + +146 EXT. NORFOLK ROADS 146 + + Marta's car drives through the scenic countryside. Inside + we see but don't hear her telling a long story to Blanc, + who looks at the passing countryside, brow knit. + + +147 EXT. THROMBEY ESTATE FRONT DRIVE - AFTERNOON 147 + + All the family cars there, along with two police cruisers. + + Marta's pulls up. + + +148 INT. MARTA'S CAR 148 + + MARTA + ...said it was stashed, the copy, + and then she told me "you did this, + you won't get away with it" and + then I called the ambulance. And + that's it. + + She turns the engine off. Looks up at the house. Breathes. + + BLANC + Alright. Are you ready? + + +149 INT. FOYER 149 + + Marta and Blanc enter. This really feels like a walk + towards the gallows. Richard, Walt and Meg are there. Meg + avoids eye contact with Marta. + + RICHARD + Ah. Ok, has she come to her senses? + + WALT + She's standing right there Richard + she can speak for herself - + + BLANC + Is the rest of the family here? + + WALT + In the living room. + + BLANC + I think maybe, if we could... + 106. + + + Blanc beckons, and Richard and Walt file out. On her way + out Meg hugs Marta, weeping. + + MEG + I'm sorry, I'm so sorry I told them + about your mom. I was angry and + scared, I'm sorry + + MARTA + It's ok, Meg. I understand. Believe + me. It's alright. + + Meg sniffs, dries her eyes. + + MEG + God I am so raiding Fran's stash + after this. + + They hug one more time. Then when Meg walks off towards the + living room, Marta realizes something. Blanc walks back. + + BLANC + I still think this is a bad idea, + but the family is assembled. + + MARTA + (to Blanc) + I know where the tox report is. + + +150 INT. DRAWING ROOM 150 + + Marta jimmies the clock drawer open with a letter opener. + + She pulls a FOLDED PIECE OF PAPER from inside, blows loose + pot leaves off it. She hands it to Blanc. + + MARTA + She practically told me where it + was. Anyway this'll tie everything + up. And I just handed it to you, + god you're you're not much of a + detective are you? + + BLANC + To be fair you're a pretty lousy + murderer. Perhaps we deserve each + other. + + +151 INT. LIVING ROOM 151 + 107. + + +The family gathered, impatient. Lieutenant Elliott and +Trooper Wagner are there too, with another uniformed +officer. Ransom sits in the corner, his face passive. + +Marta gulps. Blanc is a few steps behind her. As she +speaks, he unfolds and reads the tox report. + + MARTA + Um. You guys have always been good + to me. And what I'm about to say + isn't going to be easy, and you're + going to be upset, but especially + after everything you've gone + through the past few days, I + thought you deserved to hear it + from me. + +Walt smiles at her, "you're doing the right thing." Marta +takes a deep breath. + +Blanc has finished reading the report. He refolds it +carefully. + + MARTA + I - + + BLANC + Excuse me. You have not been good + to her. You have all treated her + like shit to steal back a fortune + that you lost and she deserves. + You're a pack of bloody vultures at + the feast, but you're not getting + bailed out, not this time. + (beat) + Ms. Cabrera has decided + definitively not to renounce the + inheritance. + + WALT + What? + + MARTA + What? + + BLANC + Furthermore it will be my + professional recommendation to the + local authorities that the manner + of death in the case of Harlan + Thrombey is ruled as suicide, and + the case is closed. + 108. + + + RANSOM + What? + + MARTA + What? No, Blanc - + + BLANC + Thank you all for coming goodbye. + + He firmly guides Marta out by the elbow. A beat of silence. + + RICHARD + Is anybody else confused? + + As the family breaks out in hubub, Linda notices her dad's + OLD BASEBALL on the side table where Blanc left it. What's + that doing here? She picks it up. + + +152 INT. LIBRARY 152 + + Blanc steers Marta into the library, as sounds of hubub and + shouting come from the other room. + + MARTA + What the hell? I want to come + clean, this is over - + + BLANC + Almost. + + Elliott bursts in, motions to the living room, then Marta, + then Blanc. + + LIEUTENANT ELLIOTT + What - with - what? + + BLANC + I'm sorry - officer Wagner! + + Wagner enters. + + BLANC + Please keep the family out of this + room and get them out of the house + if you can. But stand by with your + additional officer. + + TROOPER WAGNER + Get the family out? + + BLANC + Yes but not all of them. + 109. + + +Blanc whispers something to Wagner, who nods and exits. + + LIEUTENANT ELLIOTT + Blanc c'mon, what's all this Drama. + + BLANC + Indulge me. + +Marta sits. Elliott remains standing. + + MARTA + Blanc. I told Ransom, Ransom told + you, I'm telling you now - it is an + immovable fact that I killed + Harlan. + + BLANC + Yes you did, yes he did, yes you + are, but. But. + + BLANC + I spoke in the car about the hole + at the center of this donut. And + yes, what you and Harlan did that + fateful night seems at first glance + to fill that hole perfectly. A + donut hole in the donut's hole. But + we must look a little closer. And + when we do, we see that the donut + hole has a hole in its center - it + is not a donut hole at all but a + smaller donut with its own hole, + and our donut is not whole at all! + + LIEUTENANT ELLIOTT + Blanc I understand that this is + amusing for you - + + BLANC + Why. Was. I. Hired? Why would + someone hire me? + + LIEUTENANT ELLIOTT + Someone fishing for any crime that + could help reverse the will. + + BLANC + 110. + + + I was hired before the sealed will + was read. Yes, the person must have + known the contents of the will. But + one step further - that same person + must have known a crime was + committed, and further, if the + intent was to reverse Marta's + inheritance, they must have known + that Marta was responsible. + (beat) + An intriguing combination of + factors. Someone who knew what + Marta did, wanted to expose it, but + could not reveal how they knew. + + MARTA + Fran? She was blackmailing me, she + knew what I did + + BLANC + But Fran wanted money, ergo she did + not want the crime exposed. + + LIEUTENANT ELLIOTT + Did someone in the family see Marta + doing something suspicious? + + BLANC + They would have had no reason to + not speak up. No. The answer is not + so simple. + +Blanc sits, suddenly weary. + + BLANC + Now with the entire solution in my + field of view, the arc of this case + is a tragedy of errors. And Marta, + it will not be easy to hear. But + there is at least one truly guilty + party behind it all, guilty in the + true sense of acting with malice, + and committing a heinous crime with + selfish intent. + (calls) + Trooper Wagner. + + MARTA + (stunned) + Trooper Wagner?? + +Blanc squints at her. No. + 111. + + + A moment later Wagner leads Ransom in. Ransom looks at + Marta softly, sadly. + + RANSOM + Marta I'm sorry. I told them + everything, I figured it was all + up. I'm sorry. + + MARTA + It's alright Ransom, I'm glad you + did. + + BLANC + Not exactly everything though. + + MARTA + Is this about what Greatnana told + you? She saw me that night, she + mistook me for Ransom + + BLANC + We'll get to that. But first, Mr. + Hugh Ransom Drysdale, you might + tell us all why you hired me. + + RANSOM + Why I hired you? + + BLANC + You're right, let's back up. To the + night of the party. Your argument + with Harlan. What were the + overheard words by the Nazi child + masturbating in the bathroom - "my + will" and "I'm warning you." You + and Harlan were "drama mamas," you + shared a love of twisting the knife + into one another. I don't believe + he would have slipped it in halfway + - no, I submit that Harlan told you + everything. + + +153 INT. SMALL STUDY - NIGHT OF PARTY 153 + + Ransom and Harlan face each other. + + RANSOM + You can't be serious. + + HARLAN + 112. + + + Not a red dime or word of my work + to a single one of them, you + included. + + +154 INT. LIBRARY 154 + + BLANC + Marta, remind me what Ransom said + his conversation with Harlan ended + with. + + MARTA + Harlan told him that I could beat + him in GO. + + BLANC + And I asked myself - Marta? Why + would the topic of the will have + steered around to Marta? There is + one obvious explanation... + + +155 INT. SMALL STUDY - NIGHT OF PARTY 155 + + RANSOM + You are not this crazy. You would + not just throw your fortune away + + HARLAN + No. I'm giving it to Marta. All of + it. + + RANSOM + Ha. To your Brazilian nurse are you + goddamn insane. + + HARLAN + I'm sane for the first time in my + life and I've done it I've made the + change to my will it's done + + RANSOM + I'm going to stop this Harlan, I - + + RANSOM + I'm warning you! + + Push into a vent in the wall. + + +156 INT. LIBRARY 156 + 113. + + + RANSOM + That is some heavy duty conjecture. + + BLANC + Granted. But it's the only way what + comes next makes sense. So you + storm out, you drive off into the + night. You tell Marta later of what + was it, feeling an overwhelming + sense of... + + MARTA + Clarity. That he has to make do for + himself from here on out. + + BLANC + Exactly. + + +157 EXT. NORFOLK ROADS - NIGHT OF PARTY 157 + + Ransom's Porsche SKIDS TO A STOP on the side of the empty + road. Sits idling. + + BLANC (V.O.) + Marta. The will. Harlan. "You won't + get away with this." Do for + yourself. And a plan forms. + + A beat. Then the Porsche roars into a skidding U-TURN and + drives back the way it came. + + +158 EXT. PRIVATE ROAD - NIGHT OF PARTY 158 + + Ransom's Porsche kills its lights and drives slowly down + the private road, hooking a left at the CARVED ELEPHANT + that marks the utility road. + + BLANC (V.O.) + You return, careful to avoid the + gate's security camera range. + + +159 EXT. WOODS - NIGHT OF PARTY 159 + + The Porsche parked, Ransom hacks his way through the woods. + + BLANC (V.O.) + Then on foot up towards the house, + + +160 EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY 160 + 114. + + + The party is still going on inside. Ransom slips through + the side gate, up towards the house, and up the trellis. + + BLANC (V.O.) + You sneak in, up the trellis so as + not to be seen by the rest of the + family, who are still having their + party downstairs. + + +161 INT. THIRD FLOOR LANDING - NIGHT OF PARTY 161 + + The painting wall swings aside, and Ransom climbs through, + leaving mud traces on the sill and the carpet. He heads + straight down the narrow hall and into Harlan's bedroom. + + The party din from downstairs. + + BLANC (V.O.) + What you need to do will take + moments. But it is essential you + are alone, and undetected. + + Ransom disappears into the darkened doorway. + + BLANC (V.O.) + You knew the medications Harlan + took. You knew what Marta would be + injecting him with that night. + + BLANC (V.O.) + And you knew if Marta was + responsible for his death, even + unintentionally, the slayer rule + would nullify the changed will, and + you would get your share back. + + +162 INT. HARLAN'S BEDROOM 162 + + Dark and still. Marta's medical bag, open. Ransom has + unwrapped two syringes and has the two vials out - the + Toradol and the morphine (the "good stuff.") + + Using the syringes he extracts the liquid from both + vials... and then injects the liquids back into the + opposite vials. + + He SWITCHES THE MEDICATIONS. + + BLANC (V.O.) + 115. + + + You use the syringes in the kit to + switch the liquids in the two + medication vials. And as a final + precaution, you take the Naloxone, + the life saving antidote. + + Replacing the vials he takes an injection pen, closes the + bag up and leaves. + + +163 INT. LIBRARY 163 + + Marta is stunned, she can't even process this. + + MARTA + No, no that's impossible. + + BLANC + It is the truth. Hand me that vial + of morphine, I'll show you. + + Blanc has placed two identical vials on the table behind + Marta. Her mind is still spinning, she glances at them, + takes one and absently hands it to him. + + MARTA + If he did that, if the meds were + switched, then when I got them + mixed up... + (oh my god) + I accidentally switched them back. + But then I gave Harlan + + BLANC + The correct doses. Yes. But not + accidentally. I taped over the + labels of these two vials. + + Blanc shows white tape over the one she just handed him. + + Picks up the other vial, shows the same. + + BLANC + The vials themselves are identical. + How did you know that this was the + morphine? + + MARTA + I... just knew + + BLANC + 116. + + + You knew because there is the + slightest, almost imperceptible + difference of tincture and + viscosity between the liquids. You + knew because you had done it a + hundred times. You gave him the + correct medication. Because you are + a good nurse. + + MARTA + Then Harlan was... + + BLANC + I'm sorry Marta. But yes. Harlan + was perfectly fine. + + He unfolds the tox report and hands it to her. + + BLANC + His blood was normal. The cause of + death was truly, solely suicide, + and you are guilty of nothing but + some damage to the trellis and a + few amateur theatrics. In fact if + he had listened to you, he would be + alive today. + + Marta is white as a ghost. She shudders, buckles over. + + LIEUTENANT ELLIOTT + Hot damn. + + BLANC + A twisted web, and we are not + finished untangling it. Not yet. + + BLANC + Marta when Greatnana spotted you + climbing down the trellis she said + + +164 EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY 164 + + Marta facing Greatnana, who says: + + GREATNANA + Ransom? Are you back again already? + + BLANC (V.O.) + Are you back again already, because + earlier that night - + 117. + + + CUT TO: the exact same scene but RANSOM hops down off the + trellis, and is startled by Greatnana staring at him. + + GREATNANA + Ransom, you're back! + + He puts his finger to his lips - shhh, and blows a kiss as + he walks off into the night. + + +165 INT. LIBRARY 165 + + Marta with her fingers on her temples, still unbelieving. + + RANSOM + Marta c'mon. + (to Blanc) + This is stoopid with two o's and + you don't have a shred of evidence, + you're just spinning a fairy tale. + + BLANC + Not a shred no, just as we have no + real proof of Marta's mixing up the + vials so it's your word against - + + RANSOM + You have her confession! + + The sharpness of this makes Marta look at Ransom for the + first time. + + BLANC + Ah right, we do have that. If + you'll indulge me, I'd like to spin + a little further. + + +166 EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY - FLASHBACK 166 + + Moonlit, silent. + + BLANC (V.O.) + Much later that night you would + have to come back to the house, to + break back in and retrieve the + incriminating tampered vials. + + A dark figure, Ransom, approaches the side gate. But when + he opens it, the two dogs come bounding across the lawn, + barking loudly. + + BLANC (V.O.) + 118. + + + However, this time the dogs were + outside. They barked. Waking Meg. + + A light goes on upstairs. The dogs keep barking, paws on + the gate. Ransom backs off. + + BLANC (V.O.) + No matter. You'll get the vials + tomorrow. + + +167 INT. LIBRARY 167 + + BLANC + But tomorrow brings news not of a + medical error and guilty nurse, but + of a slit throat and suicide!? + + +168 INT. RANSOM'S APARTMENT LIVING ROOM - DAY 168 + + A nervous Ransom tears a clipping from the local newspaper + about Harlan's death, stuffs in it an envelope with a huge + fold of cash, and addresses it to Blanc. The New Yorker + profile open on the couch. + + BLANC (V.O.) + Now the circumstances are perfect + for the anonymous hiring of a me: + you know a crime has been committed + by Marta, you need her to be caught + for it, you cannot reveal how you + know. + + +169 INT. LIBRARY 169 + + BLANC + Enter Benoit Blanc. + + Elliott can't help but roll his eyes. + + LIEUTENANT ELLIOTT + Benny look I hear what you are + saying + + Trooper Wagner quickly shushs Elliott, enthralled by every + word Blanc says. + + BLANC + 119. + + + The body was discovered early the + next morning. The police, the + medical examiners, the family, + everyone swarms in, + (to Ransom) + and there is no possible way you + can get to Marta's medical bag to + remove the vials. You must wait for + your moment, when the investigation + is over and you know the house will + be empty. And that is why you + missed the funeral. + + +170 INT. THIRD FLOOR LANDING - AFTERNOON - FLASHBACK 170 + + Ransom bounds up the stairs, climbs under the POLICE TAPE + blocking Harlan's study, and enters. + + BLANC (V.O.) + there is no one home to wonder why + you're going into Harlan's study. + Or so you think. + + Fran comes around the corner, spots Ransom and is about to + say something, but doesn't. + + BLANC (V.O.) + Poor Fran. She witnessed you + tampering with Harlan's medication + in the medical bag. She did not + know what you were doing. But she + knew you were up to no good. And so + her mind begins to turn. + + Ransom pockets the two incriminating vials from the medical + bag and replaces the Naloxone pen. When he stands to go she + retreats. + + +171 INT. LIBRARY 171 + + MARTA + Oh god that movie she told me + about, with Danica McKellar, that's + what she was talking about - + + TROOPER WAGNER + Deadly by Surprise. + + BLANC + 120. + + + She loved Harlan. She hates Ransom. + So the poor girl decides to test + her theory and make this asshole + pay. She gets a copy of the + toxicology report, I will be honest + I have no idea how + + MARTA + She has a cousin - she told me, she + has a cousin who works as a + receptionist at the examiners + office! + + BLANC + Well voila. The numbers mean + nothing to her, but if Ransom is + guilty its existence is a threat, + so she photocopies the header and + makes her blackmail note. + + MARTA + So why did she send it to me? + + BLANC + She did not. She sent it to Ransom. + + +172 INT. RANSOM'S LIVING ROOM - DAY - FLASHBACK 172 + + Ransom walks in sorting mail - finds the blank envelope, + reads the blackmail note inside, and slowly grins. + + BLANC (V.O.) + And when Ransom first gets it, what + is his reaction? Elation! He still + thinks Marta gave Harlan the + tampered drugs! A blood tox report + will prove Marta's guilt! + + +173 INT. LIBRARY - DAY - FLASHBACK 173 + + The will reading, the family assembled. Ransom sits in + back, a sly smile on his face as the will is read. + + BLANC (V.O.) + He goes to the will reading in high + spirits, ready to see the family + tear themselves apart, secure in + the knowledge that it will all be + undone when the tox report comes to + light. And then... + 121. + + +174 INT. RESTAURANT - NIGHT - FLASHBACK 174 + + Beers stacked up. Marta has just confessed. Ransom's face + is unreadable. + + BLANC (V.O.) + Marta's confession. And everything + turns on its head. Now he realizes + that Marta has committed no crime, + and the tox report will prove her + innocence. The changed will is + going to stand. He has lost. + Unless. + + +175 INT. LIBRARY 175 + + Blanc rounds on Ransom. + + BLANC + Unless you decide. + + +176 INT. RESTAURANT - NIGHT - FLASHBACK 176 + + Ransom giving Marta his pep talk - + + RANSOM + ...you're not going to give up the + money. + + +177 INT. LIBRARY 177 + + BLANC + You are not going to give up the + money. + + +178 INT. RESTAURANT - NIGHT - FLASHBACK 178 + + RANSOM + You've come this far! + + +179 INT. LIBRARY 179 + + BLANC + You have come this far. Just one + step further. Just one last act, in + for a penny, in for a pound. You + decide. You are in. + 122. + + + CLOSE ON: A lighter ignites a rag stuffed in a tin gas can. + + THE CAN: Being thrown through a window in a brick wall. + + +180 INT. MEDICAL EXAMINERS OFFICE MORGUE - FLASHBACK 180 + + Empty, dark. The flaming can falls in slow motion from the + high window. Hits the floor, ignites. + + BLANC (V.O.) + Step one: destroy all evidence of + Marta's innocence. + + The flames dance in the reflection of a glass case of + refrigerated BLOOD SAMPLES. + + BLANC (V.O.) + Step two: + + +181 INT. RANSOM'S APARTMENT - LIVING ROOM - NIGHT / DAY? 181 + + CLOSE ON: The BLACKMAIL NOTE - at the bottom is written + "1209 COLUMBUS ROAD 8AM" A hand TEARS this bottom part off, + then puts the top half in an envelope. + + BLANC (V.O.) + Send Marta the anonymous email with + a late morning rendezvous time, + + CLOSE ON: An email addressed to Marta being typed on a + phone, "1209 COLUMBUS ROAD 10AM" + + +182 INT. APARTMENT BACK HALLWAY - NIGHT - FLASHBACK 182 + + Ransom creeps down the hall, slips the ENVELOPE into the + letter slot of Marta's door. + + BLANC (V.O.) + and deliver her the blackmail note. + + +183 EXT. 1209 COLUMBUS ROAD - MORNING - FLASHBACK 183 + + Ransom's Porsche pulls up. He gets out, pulling on gloves. + + BLANC (V.O.) + Step three: keep your appointment + with Fran. + 123. + + +184 INT. 1209 COLUMBUS ROAD - 8AM - FLASHBACK 184 + + Fran standing in the middle of the room, nervous. She turns + as Ransom walks in and strides towards her. + + FRAN + I knew it. I knew you were a no + good son of a bitch, I knew Harlan + wouldn't have just killed himself. + + RANSOM + Yes, you were right Fran. + + Ransom sees the medical bag on the floor, kneels and pulls + something out of it. + + FRAN + I knew you were guilty as shit. Now + you're gonna pay for it don't come + near me I'm warning you I - + + But he's upon her, hand over her mouth, stifling her scream + as he pushes the syringe into her neck and PUSHES THE + PLUNGER. + + MINUTES LATER - her inert body in the chair. He fishes + through her pockets, finds the envelope, and takes the TOX + REPORT from it, leaves the empty envelope in her hands. + + On his way out: lights the tox report on fire, drops it + burning next to Marta's bag. We stay with it as it burns + away. + + BLANC (V.O.) + Now the board is set. Marta will + get the blackmail note. You will + put the pieces together for her - + the tox report, her one chance at + getting away with it all. You'll + guide her to the rendezvous. + + BLANC (V.O.) + You'll make an anonymous call to + the police, they will catch her + there with the body and the burned + evidence. Marta will be arrested + for killing Fran... and Harlan. + + +185 INT. LIBRARY 185 + + MARTA + She said - + 124. + + +186 INT. 1209 COLUMBUS ROAD - FLASHBACK 186 + + Marta holding Fran on the floor, her dying words - + + FRAN + you... did this... + + +187 INT. LIBRARY 187 + + MARTA + She didn't say "you did this," she + wasn't talking about me, she said + + +188 INT. 1209 COLUMBUS ROAD - FLASHBACK 188 + + Exact same moment but this time we hear - + + FRAN + Hugh... did this... + + +189 INT. LIBRARY 189 + + MARTA + Hugh did this. Cause you made the + help call you Hugh. Cause you're an + asshole. + + BLANC + (to Ransom) + It would have worked. If we hadn't + brought you in for questioning, so + you could not make your anonymous + call. And if Fran had not stashed a + safety copy of the tox report. + + +190 INT. 1209 COLUMBUS ROAD - FLASHBACK 190 + + Marta turns away from the dying Fran. + + BLANC (V.O.) + And if Marta had not outplayed you + once again. + + Marta turns back, calls 911, gives mouth to mouth to Fran. + + BLANC (V.O.) + 125. + + + By having a kind heart. By saving + Fran's life, though it meant her + losing the inheritance and going to + jail. She didn't play your game, + she saved Fran's life. + + +191 INT. LIBRARY 191 + + For the first time, Ransom looks afraid. + + RANSOM + Fran's alive? + + Marta's phone starts to ring. They all see the caller id - + it's the hospital. + + BLANC + (to Marta) + Oh yes. Fran, who will confirm this + fairy story or something close to + it. + (to Ransom) + And will send you, Hugh, to jail. + + She answers the call, puts the phone to her ear. + + MARTA + Yes. + + A long beat, then her face breaks in relief. + + MARTA + Yes. Thank you doctor, that's great + news, we'll be there soon. + + She hangs up. And smiles with radiant joy. + + MARTA + She's okay. + (to Blanc) + She's ready to talk. + + Ransom stares at Marta, his face a mask. + + BLANC + Trooper Wagner, if you would keep + Mr. Drysdale in custody while + Lieutenant Elliott, Ms. Cabrera and + myself go to the hospital to take + Fran's statement. + 126. + + +Ransom stands. Steps to Marta, who's frozen, looking in his +eyes. His poker face breaks. And he grins. + + RANSOM + I want to say this just to you, not + to a courtroom of cameras, just to + you because you know it's the + truth: we allowed you into our + home. We allowed you to take care + of granddad, to be part of our + family and now you think you can + steal it from us? You think I'm not + going to fight for our birthright, + our home, our ancestral family + home? + + BLANC + Harlan bought this house in the + eighties. From a Pakistani real + estate baron. + + RANSOM + Oh shut up Blanc, shut up! Shut up + with that Kentucky fried fog horn + rag-horn drawl. Yeah I killed Fran + but I guess I didn't, so what do + you have on me. Nothing What? + attempted murder - + (to Blanc) + I get arson for the bombing, maybe + a few other charges, with a good + lawyer I'll be out before you know + it. + +Face to face, Ransom's face hateful, Marta's strong and +set. + + RANSOM + (to Marta) + And then you'll see just how much + hell I can wreak on your life, you + vicious little bitch. + +But then... Marta's face starts to do things. Odd things. + +Convulses. Her jaw clenches. Her cheeks bulge. + +And the PROJECTILE VOMITS into Ransom's face. + + RANSOM + AUGH! WHAT THE SHIT! + +He falls back cursing, she drops to her knees, spitting. + 127. + + +Wagner, inappropriately excited: + + TROOPER WAGNER + That means she was lying! + + MARTA + That's right, Fran's dead. + (to Ransom) + And you just confessed to her + murder. + +Ransom takes this in. Then he smirks. + + RANSOM + Well. In for a penny... + +In one fluid motion he spins to the ornamental WALL OF +KNIVES, grabs one - + + BLANC + No! + +and TACKLES MARTA... + +Time slows as Blanc and Elliott lunge to stop him but it's +too late - + +Ransom and Marta fall together, his arm arcing down + +And as the they hit the ground his arm comes down PLUNGING +THE KNIFE UP TO THE HILT IN HER CHEST. + +They lie still, breathing hard. Her eyes wide with pain and +horror. His cold and wild. + +But then she blinks. Squints. + +And he cocks his head. Realizing something. + +Withdraws the knife from her chest. + +Its fake blade had retracted into the handle. It's a +theatrical prop. + +He pumps it up and down a few times, the spring making a +pathetic toy noise. + +Ransom smirks. + + RANSOM + Shit + 128. + + + And is VIOLENTLY TACKLED out of frame by Trooper Wagner. + + Leaving Marta lying on her back. Blanc shouting if she's + alright, Elliott and Wagner wrestling Ransom into cuffs, it + all fades into the background as she holds the knife and + stares at the ceiling. + + +192 INT. SMALL STUDY 192 + + CLOSE ON: Harlan's old baseball being set carefully back in + place. + + By Linda. She's about to leave, but she notices the pink + envelope on the desk. Picks it up, takes out the blank + note. Seems to recognize it, and smiles sadly. + + +193 EXT. THROMBEY ESTATE FRONT DRIVE - LATER 193 + + Linda comes outside and joins the family. + + Several more police cars, and an ambulance. Ransom is + loaded into the cop car. His family are held at bay by + officers, but they react in different ways - + + Richard yelling at the cops. Walt sobbing, Donna collapsed + against him, Jacob on his phone. + + Joni staring into space, ruined. Meg talking to Lieutenant + Elliott, crying. She's just learned about Fran. + + Linda watches the circus, strangely disconnected, going to + light a cigarette. With a strange smirk, she uses the flame + to warm the blank note from the office, and HIDDEN WRITING + starts to appear - a note from her father. Their secret + communication. As the letters appear, her face changes. + + +194 INT. LIVING ROOM 194 + + Marta sits, a blanket over her shoulders. An officer who's + just taken her statement walks away. Blanc approaches. + + MARTA + Can I ask. At what point did you + suspect I had something to do with + Harlan's death? + + BLANC + From the moment you first set foot + in front of me. + 129. + + + Taps her shoe. The tiny, faded spot of blood. + + MARTA + Oh my god. + + BLANC + I want you to remember something + very important: you won not by + playing the game Harlan's way, but + yours. + + Through the window she sees the family outside. + + MARTA + I should help them. Right? + + BLANC + I have my own opinion. But I have a + feeling you'll follow your heart. + + He gives her a wink, and strolls off. + + +195 INT. FOYER - LATER 195 + + Marta shuffles to the front doorway. One last glance at + Harlan's portrait, its grin now gentle and content. + + +196 EXT. FRONT PORCH - BALCONY 196 + + She stands on the threshold. Sees Blanc get into the front + door of a cruiser, and it drives off - Ransom in the back. + + He looks back at her through the window. + + The family out on the lawn. Not sure where to go or what to + do. They all turn to see: Marta standing very small, but + somehow not, in the doorway of her house. + \ No newline at end of file