592a08c6df0cd1891e0e1c37111b734675d5dc60
movie
http://www.imsdb.com/scripts/Cobb.html
COBB Written by
. THE END
 Sportswriter Al Stump is hired in 1960 as ghostwriter of an authorized autobiography of baseball player Tyrus Raymond "Ty" Cobb. Now 73 and in failing health, Cobb wants an official biography to "set the record straight" before he dies.
Stump arrives at Cobb's Lake Tahoe estate to write the official life story of the first baseball player inducted into the National Baseball Hall of Fame. He finds a continually-drunken, misanthropic, bitter racist who abuses his biographer as well as everyone else he comes in contact with. Although Cobb's home is luxurious, it is without heat, power and running water due to long-running violent disputes between Cobb and utility companies. Cobb also rapidly runs through domestic workers, hiring and firing them in quick succession.
Although Cobb is seriously ill and prone to frequent physical breakdown, he retains considerable strength and also keeps several loaded firearms within easy reach at almost all times, making the outbreak of violent confrontation always an immediate possibility in his presence.
Cobb almost gets killed in an automobile accident off the Donner Pass, driving recklessly in a blizzard. Stump rescues him, but Cobb then seizes control of Stump's car until he gets into another accident. The car has to be towed to Reno.
Stump and Cobb go see a show at a Reno resort hotel featuring Keely Smith and Louis Prima, whose act Cobb rudely interrupts. A cigarette girl, Ramona, becomes interested in Stump, but when Cobb barges into the hotel room, he's in a jealous rage. He takes Ramona to another room, where he physically abuses her.
Cobb and Stump travel together cross-country by automobile to the Baseball Hall of Fame's induction weekend in Cooperstown, New York, where many star players from Cobb's era are in attendance, including Rogers Hornsby and Mickey Cochrane. Cobb is haunted by images from his violent past as he views film footage of his career.
From there, Cobb and Stump drive south to Cobb's native Georgia, where his estranged daughter continues to live. She refuses to see him. Stump, having spent months with Cobb witnessing his behavior and absorbing considerable abuse, is torn between creating the autobiography that Cobb hired him to write and writing his own book on Cobb's true self. Cobb begins to regard Stump as a friend of sorts; it is clear his conduct has driven away virtually all his legitimate friends and family.
Stump writes two books simultaneously: the one Cobb expects, and his own, sensational, merciless account which will reveal the real Cobb, warts and all. Stump plans to complete Cobb's version while the old man is still alive, guaranteeing his payment for the project, letting Cobb die happy, then issue the hard-hitting followup after Cobb is gone. After a long night of drinking when his own personal life begins to unravel, Stump passes out. Cobb discovers his notes for the no-punches-pulled version, bringing on an epic explosion.
Cobb begins to cough up blood and is taken to a hospital, where he wields a gun and treats doctors and nurses as harshly as he has everyone else. Stump gains a grudging respect for the player's legendary intensity and fearsome competitive fire, as well as an understanding that the murder of Cobb's father may have been partly responsible for his antagonistic personality. Stump is conflicted in his opinion of Cobb, and, in the end, completes the glowing autobiography Cobb hired him to write.
Sportswriter Al Stump is hired in 1960 as ghostwriter of an authorized autobiography of baseball player Tyrus Raymond Ty Cobb . Now 73 and in failing health , Cobb wants an official biography to set the record straight before he dies . Stump arrives at Cobb s Lake Tahoe estate to write the official life story of the first baseball player inducted into the National Baseball Hall of Fame . He finds a continually-drunken , misanthropic , bitter racist who abuses his biographer as well as everyone else he comes in contact with . Although Cobb s home is luxurious , it is without heat , power and running water due to long-running violent disputes between Cobb and utility companies . Cobb also rapidly runs through domestic workers , hiring and firing them in quick succession . Although Cobb is seriously ill and prone to frequent physical breakdown , he retains considerable strength and also keeps several loaded firearms within easy reach at almost all times , making the outbreak of violent confrontation always an immediate possibility in his presence . Cobb almost gets killed in an automobile accident off the Donner Pass , driving recklessly in a blizzard . Stump rescues him , but Cobb then seizes control of Stump s car until he gets into another accident . The car has to be towed to Reno . Stump and Cobb go see a show at a Reno resort hotel featuring Keely Smith and Louis Prima , whose act Cobb rudely interrupts . A cigarette girl , Ramona , becomes interested in Stump , but when Cobb barges into the hotel room , he s in a jealous rage . He takes Ramona to another room , where he physically abuses her . Cobb and Stump travel together cross-country by automobile to the Baseball Hall of Fame s induction weekend in Cooperstown , New York , where many star players from Cobb s era are in attendance , including Rogers Hornsby and Mickey Cochrane . Cobb is haunted by images from his violent past as he views film footage of his career . From there , Cobb and Stump drive south to Cobb s native Georgia , where his estranged daughter continues to live . She refuses to see him . Stump , having spent months with Cobb witnessing his behavior and absorbing considerable abuse , is torn between creating the autobiography that Cobb hired him to write and writing his own book on Cobb s true self . Cobb begins to regard Stump as a friend of sorts ; it is clear his conduct has driven away virtually all his legitimate friends and family . Stump writes two books simultaneously : the one Cobb expects , and his own , sensational , merciless account which will reveal the real Cobb , warts and all . Stump plans to complete Cobb s version while the old man is still alive , guaranteeing his payment for the project , letting Cobb die happy , then issue the hard-hitting followup after Cobb is gone . After a long night of drinking when his own personal life begins to unravel , Stump passes out . Cobb discovers his notes for the no-punches-pulled version , bringing on an epic explosion . Cobb begins to cough up blood and is taken to a hospital , where he wields a gun and treats doctors and nurses as harshly as he has everyone else . Stump gains a grudging respect for the player s legendary intensity and fearsome competitive fire , as well as an understanding that the murder of Cobb s father may have been partly responsible for his antagonistic personality . Stump is conflicted in his opinion of Cobb , and , in the end , completes the glowing autobiography Cobb hired him to write .
http://en.wikipedia.org/wiki/Cobb_(film)
Cobb (film)
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<pre>         COBB

   Written by RON SHELTON

Based on material by AL STUMP



       July 1993 Draft




<b>  FOR EDUCATIONAL
</b><b>   PURPOSES ONLY
</b><b>
</b>Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
                                Dylan Thomas


Nice guys finish last.
                                Leo Durocher
<b>
</b><b>1   INT. OLD OFFICE (SANTA BARBARA, CA) - DAY (1960)          1
</b>
    The room is California Spanish, thick walls, arches, and
    light spills in from a mission window. But we don't have
    any sense of place just yet. At first there are just
    details.

<b>    EXTREME CLOSEUP ON TYPEWRITER KEYS
</b>
    of an old Underwood upright, well-worn and ancient. A
    woman's fingertips with red nail polish are placed on the
    keys. They wiggle.

<b>    CLOSE ON PIPE IN ASHTRAY
</b>    Smoke curls.   A man's hand picks it up.


<b>    CLOSE ON MAN'S HAT AND COAT
</b>    on a coat rack.


<b>    CLOSE ON WASTE BASKET
</b>    Overflowing with crunched-up paper.


<b>    MAN
</b>    lies on a couch near the window. He stands up suddenly
    and looks out the window. AL STUMP, 40, is sharply
    dressed -- tie, dress shirt, cufflinks. He's staring at
    something.

<b>    HIS POV - COURTYARD BELOW - BEAUTIFUL BRUNETTE
</b>
    in high heels crosses the courtyard. She glances up
    toward Stump, then quickly turns away and disappears.

<b>    CLOSE ON STUMP
</b>
    He sighs, and turns.
<b>                              STUMP
</b>              The muse has   not descended,
              Lucille.
                     (off   her silence)
              The muse has   not descended.
                     (off   her silence)
              God damn it,   Lucille, you hear me?

<b>                                                (CONTINUED)
</b><b>
</b><b>                                                             2.
</b>
<b>1   CONTINUED:                                                    1
</b><b>    ANGLE ON LUCILLE
</b>
    The woman at the typewriter, a 50-year old steno/secre-
    tary, responds calmly.
<b>                               LUCILLE
</b>                 The muse has not descended.

<b>                               STUMP
</b>                 Yes! The muse has left me
                 stranded here like a beached
                 whale -- only one phrase, one
                 word, from finishing the greatest
                 essay I've ever written! One
                 word, the right word -- Flaubert
                 called it 'le mot juste' -- I
                 ever tell you that?
    Lucille is a longsuffering saint.
<b>                               LUCILLE
</b>                 'Le mot juste' -- the exact right
                 word the writer needs to tell his
                 story. Yessir, you've mentioned
                 it.
<b>                               STUMP
</b>                 Hemingway, Faulkner, Joyce --
                 they all searched for 'le mot
                 juste' until they cried, until
                 they bled...
<b>                              LUCILLE
</b>                 Yessir.
<b>                               STUMP
</b>                 What is this essay about again?

<b>                              LUCILLE
</b>                 Fishing.

<b>                               STUMP
</b>                 I mean what is it really about?
<b>                               LUCILLE
</b>                 You said it was about the quote
                 unquote primal issues of survival,
                 man against nature, etcetera --
                 that's what you said.

<b>                               STUMP
</b>                 Ohyeah... so... we end the essay
                 with...
<b>                               (MORE)
</b>
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                            3.
</b>
<b>1   CONTINUED:    (2)                                            1
</b><b>                               STUMP (CONT'D)
</b>                        (dictating)
                 'The tarpon leaps shimmering into
                 the late cross light of the keys,
                 a primeval moment frozen in...
                        (hesitates)
                 ... frozen in'...

    Lucille types it out.
<b>                               LUCILLE
</b>                 Shimmering tarpon -- very good,
                 Mr. Stump...
                        (beat)
                 ... 'frozen in' what?

<b>                               STUMP
</b>                        (patiently)
                 I don't know, Lucille, that's what
                 the Muse will tell me if she ever
                 descends.
                        (considering)
                 ... 'frozen in'...

    The PHONE RINGS -- Lucille answers it.
<b>                               LUCILLE
</b>                 Yes? Yes? Just a minute, I'll
                 see if he's available.
                        (covers phone)
                 It's your wife -- are you and she
                 speaking again?
    Stump's cavalier attitude stops cold.     He starts to reach
    for the phone, then stops.
<b>                                STUMP
</b>                 I dunno.   How does she sound?
<b>                               LUCILLE
</b>                 Don't ask me to interpret.

    Stump is suddenly a nervous wreck.     He hesitates.
<b>                               STUMP
</b>                 Tell her... tell her... I'll
                 talk... no... tell her I'm out --
                 I'll call her later...
                        (serious, dark)
                 God damn it.

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                              4.
</b>
<b>1   CONTINUED:    (3)                                              1
</b><b>                               LUCILLE
</b>                        (on phone)
                 Apparently he's out, Mrs. Stump --
                 I'll have him call you back.
    She hangs up.    The mood has shifted.

<b>                               STUMP
</b>                 I need a drink.
<b>                               LUCILLE
</b>                 What about 'le mot juste,' Mr.
                 Stump?
<b>                               STUMP
</b>                        (snaps)
                 Fuck 'le mot juste,' Lucille!
                 Finish the damn thing yourself.
                 'The primeval moment is frozen in'
                 whatever the hell you want it to
                 be. Did you know that James Joyce
                 let his secretary -- none other
                 than Samuel Beckett -- revise and
                 edit Molly's solliloquy in
                 Ulysses? You're my Beckett -- I
                 give you 'le mot juste!' Just
                 get the damn thing in the mail
                 so I can get paid.

    Silence.
<b>                               LUCILLE
</b>                 Problems with the Mrs.?

    Stump reaches for a beat-up pogo stick which leans against
    the wall in his office.

<b>                                 STUMP
</b>                 I don't know.    I need a drink.
    He grabs his hat and coat and we begin hearing the number
    one hit song of 1960, PERCY FAITH'S schmaltzy recording of
    "A Summer Place."
<b>                                                    CUT TO:
</b>

<b>2   EXT. DOWNTOWN STREET - LATE AFTERNOON                          2
</b>    Stump pogo sticks down the sidewalk, tipping his hat to
    pedestrians. They're not alarmed. He's the town
    eccentric. He pogos across a street and towards --
<b>                                                    CUT TO:
</b><b>
</b><b>                                                         5.
</b>
<b>3   EXT. THE SPORTSMAN'S LOUNGE - LATE AFTERNOON              3
</b>    A watering hole like a million others.   He pogo sticks
    right in the front door.

<b>                                               CUT TO:
</b>
<b>4   INT. THE SPORTSMAN'S - LATE AFTERNOON                     4
</b>
    A classic city bar, a hangout for drunks, philosophers,
    and especially sportswriters and journalists.

    Our man hops off his pogo stick -- nobody even notices,
    and joins his cronies, five sportswriters full of dogmatic
    opinions on every subject known to man.

    FRANK, a sportswriter, is at the jukebox feeding quarters.
    He looks up routinely, they're all regulars here.
<b>                            FRANK
</b>              Hey, Stumpy...
    Stump addresses the sportswriters at the table as if they
    were a small audience in a lounge.

<b>                            STUMP
</b>              Awright, awright... how do you get
              five old ladies to say 'fuck?'
<b>                            CRONIES
</b>                     (stumped)
              Jeez, I dunno, how? Etc...
<b>                              STUMP
</b>              Yell 'bingo.'
    Stump laughs. The others groan. REYNALDO, 40's, black,
    speaks up. He's one of the regulars.

<b>                            REYNALDO
</b>              Okay, I got one --
                     (beat)
              A drunk is taking a piss in front
              of a bar, a bus drives by, real
              fast right along the curb, and
              knocks his thing off. Drunk picks
              up his thing, puts it in his
              pocket, goes into a bar, reaches
              into his pocket and puts his thing
              on the bar. 'Look't that,' he
              says, 'bus knocked my thing off.'
              Bartender says, 'that ain't your
              thing -- that's a cigar butt.'
<b>                            (MORE)
</b><b>                                               (CONTINUED)
</b><b>
</b><b>                                                             6.
</b>
<b>4   CONTINUED:                                                    4
</b><b>                               REYNALDO (CONT'D)
</b>                 Drunk reaches into his other
                 pocket and slaps another thing
                 on the bar. 'There,' he says,
                 'bus knocked my thing off.'
                 Bartender says, 'you're drunk and
                 that ain't your thing either.
                 That's another cigar butt.'
                        (beat)
                 Drunk looks down at both cigar
                 butts and back up at the
                 bartender and says, 'God damn it,
                 I mushta smoked my dick.'
    Everyone roars, even Stump. But Frank, as usual, is hyper
    serious and never quite gets into the revelry.

<b>                               FRANK
</b>                 Amidst this levity, gentlemen, I
                 have some real concerns. Mark my
                 words, people will look back on
                 this year and say that 1960 was
                 the year that Western Civilization
                 began its downward trajectory.
<b>                               BILL
</b>                 You need to get laid, Frank.
<b>                               FRANK
</b>                 Guys, guys, c'mon... do you really
                 think things are as good as they
                 used to be? You think Jack
                 Kennedy is qualified to be
                 President?
<b>                               BILL
</b>                 Kennedy may not be qualified, but
                 -- Jackie's a babe -- and that's
                 good enough for me.
<b>                               REYNALDO
</b>                 They're a happily married couple
                 and that oughta stand for
                 something these days...

    Every man nods in solemn agreement.

<b>                               MUD
</b>                 Speaking of being happily married,
                 Al, are you and your old lady
                 still having problems?

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                             7.
</b>
<b>4   CONTINUED:    (2)                                             4
</b><b>                               STUMP
</b>                 Oh no, the wife and I are all
                 patched up -- doin' fantastic.
<b>                               CRONIES
</b>                 Good to hear... awright... way to
                 go, Stumpy... (Etc.)

<b>                               FRANK
</b>                 I mean look at us -- we call
                 ourselves writers but we just
                 watch ballgames and get drunk a
                 lot. You call that writing?
<b>                              STUMP
</b>                 Yes I do.

<b>                               MUD
</b>                 In the department store of life,
                 sports is the toy department --
                 so what?
<b>                               BILL
</b>                 Yeah, besides, Alan here's writing
                 a serious novel, aren't ya?
<b>                               MUD
</b>                 Yeah, well I haven't started yet
                 but I'm gonna. I've been busy.
<b>                               FRANK
</b>                 You guys are pathetic. Ya write
                 for one reason -- a paycheck.

<b>                               STUMP
</b>                 More art was created for money
                 than for passion. Take your
                 platitudes and shove 'em, Frank.
                 I'm gonna write a novel too,
                 someday.

<b>                               FRANK
</b>                        (cynically)
                 The Great American Novel, I
                 suppose?

<b>                               STUMP
</b>                 It could come from my pen.
<b>                               FRANK
</b>                 You're a barbershop writer, Al --
                 you write sugar-coated pieces for
                 guys to skim when they're waiting
                 for a haircut!

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                           8.
</b>
<b>4   CONTINUED:    (3)                                           4
</b><b>                               STUMP
</b>                 Awright, that's it! Let's go!
                 Settle this right here!
    Stump raises his fists as if to fight; Frank responds.

<b>                                MUD
</b>                 Hey!
    A scuffle breaks out, a lot of posturing, feinting, but
    they're all too chicken to do anything. Nobody wants to
    fight.
    A PHONE RINGS at the bar. The bartender answers the
    phone, shouts at the obnoxious sportwriters.

<b>                                REYNALDO
</b>                 Stump!   For you.
    Stump goes to the phone, interrupting his own "fight."
<b>                               STUMP
</b>                        (to Frank)
                 Phone call saved your ass.
    Stump grabs the phone, covering an ear to hear better.
<b>                               STUMP
</b>                        (on phone)
                 Yeah... yeah... who?... no...
                 you're kidding?... when?
    Stump hangs up the phone and turns. His face registers
    shock, or more precisely, bewilderment and wonder.
<b>                                STUMP
</b>                 Hey...
                        (as they ignore
                          him)
                 Shut up!

    They do, and give Stump their ruffled attention.
<b>                               STUMP
</b>                 Cobb wants to see me.

<b>                                MUD
</b>                 Cobb who?
<b>                                 STUMP
</b>                 Ty Cobb!    How many Cobbs are
                 there?!
    This news instantly sobers the room.

<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                              9.
</b>
<b>4   CONTINUED:    (4)                                                4
</b><b>                                FRANK
</b>                 Ty Cobb?   I thought he was dead?

<b>                               STUMP
</b>                 Not yet. He said he wants to
                 tell me the real story of his
                 life before he croaks.

<b>                               BILL
</b>                 You were just talking to Ty Cobb?

<b>                               STUMP
</b>                 The Georgia Peach himself.
    This impresses the hell out of everyone in the room.           Even
    Stump is still a little dazed.

<b>                               FRANK
</b>                 They say Cobb is crazy. The
                 meanest sonofabitch who ever
                 lived.
<b>                               MUD
</b>                 I heard he killed a man.
<b>                               BILL
</b>                 Maybe so, but -- he was the
                 greatest baseball player of them
                 all.
<b>                               CRONIES
</b>                 Yeah, the best, no one close,
                 etc...

    Frank suddenly is cautionary, concerned, paternal.
<b>                               FRANK
</b>                 Listen, Al, be careful --
<b>                               STUMP
</b>                 I ain't gettin' my ass shot, don't
                 worry...
<b>                               FRANK
</b>                 No, not that -- the story.
                        (beat)
                 This is like Ivan the Terrible
                 inviting somebody into the Czar's
                 palace before he died.

<b>                               STUMP
</b>                 Except Ivan was a nicer guy...
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                           10.
</b>
<b>4   CONTINUED:    (5)                                            4
</b><b>                               FRANK
</b>                        (concerned, earnest)
                 Don't let Cobb bullshit you. This
                 is your shot. This is all our
                 shot.
                        (as cronies agree)
                 When does he want to see you?

<b>                                STUMP
</b>                 Immediately.

<b>                                                 CUT TO:
</b>
<b>5   INT. NEARLY EMPTY MOVIE THEATER - DAY                        5
</b>
    Al Stump sits alone in the theater, except for a teenaged
    boy sweeping the aisles, who stops to watch the screen.
<b>                               STUMP (V.O.)
</b>                 I gathered all the film footage
                 that existed on Cobb -- which
                 wasn't much -- and rented the
                 local theater for the afternoon...
                        (beat)
                 I, too, had thought that the great
                 Ty Cobb had been dead for awhile...


<b>6   ANGLE ON SCREEN                                              6
</b>    The screen fills with (B&W) Movietone Newsreel footage of
    Ty Cobb, complete with overly sincere NARRATION and MUSIC.

<b>                               NEWSREEL NARRATOR (V.O.)
</b>                 This 1905 cameo of an 18-year-old
                 youth shows a peaches-and-cream
                 complexion and the piercing eyes
                 of a lad who would become, etc...
    Onscreen (B&W) -- Cobb as a young ballplayer followed by
    images of Cobb's famous batting stance, Cobb clowning,
    etc.
<b>                               STUMP (V.O.)
</b>                 His reputation as being difficult
                 at best, psychotic at worst,
                 preceded him. But if there was
                 one thing I knew after all my
                 years as a journalist covering
                 politicians, celebrities, and
                 sports heroes, it was this --
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                            11.
</b>
<b>6   CONTINUED:                                                    6
</b>    Onscreen (B&W) -- Cobb with children, Cobb with celebri-
    ties, Cobb in a parade honoring him, and always, Cobb's
    dashing, swashbuckling style of play.
<b>                               STUMP (V.O.)
</b>                 The 'facts' -- and public
                 perception of those 'facts' --
                 frequently bear little
                 resemblance.
    Onscreen (B&W) -- Cobb in action -- His demon fury gives
    way to the fierce joy of his playing. He slashes a ball
    up the alley, turns first and never hesitates at second,
    and as the relay comes into third --

<b>                               STUMP (V.O.)
</b>                 One thing was beyond argument --
                 he was the most brilliant athlete
                 of his time... perhaps of any time.
                        (beat)
                 I was determined to find out who
                 was the real Ty Cobb.
    Cobb slides with spikes high and a cloud of dust. There
    is something thrilling and terrifying in the image.
<b>                                                  CUT TO:
</b>

<b>7   EXT. MOTHER LODE COUNTRY (CALIFORNIA) - LATE AFTERNOON        7
</b>    Stump's car, a late model Buick, moves across the stunning
    grasslands at the western base of the Sierra Nevadas. We
    begin hearing his voice, then see him inside the car
    driving.
<b>                                                  DISSOLVE TO:
</b>
<b>8   EXT. FOOTHILLS OF THE SIERRAS - DUSK                          8
</b>
    Stump's car heads up into the darkening mountains.
<b>                               STUMP (V.O.)
</b>                 They said Cobb owned property all
                 over the country, but in recent years
                 had been staying in his hunting lodge
                 at Lake Tahoe in the Sierra Nevadas.

<b>9   AERIAL SHOT - LONE PAIR OF HEADLIGHTS                         9
</b>
    moving up into the Sierras, into rugged terrain and thick
    forests.

<b>                                                  CUT TO:
</b><b>
</b><b>                                                           12.
</b>
<b>10   INT. CAR - DUSK                                             10
</b>     Stump straining to see the road, a bit wary of this drive.

<b>                             STUMP (V.O.)
</b>               Driving into the Sierras at night
               with winter coming on wasn't the
               smartest decision I'd ever made
               but it seemed better than being
               late for my first meeting with
               Cobb.
     First drops of rain begin hitting the windshield --
     Stump hits the wiper button and the floppy blades
     begin ineffectively wiping the windshield. Stump
     struggles with his vision.

<b>                             STUMP
</b>               Shit...


<b>     POV SHOT THROUGH WINDSHIELD
</b>     A dismal, wet and obscured view of the mountain road,
     climbing higher into the Sierras. A small roadside gas
     station comes INTO VIEW, and --
     Stump pulls his car into the station.
<b>                                                CUT TO:
</b>

<b>11   EXT. JONAH'S SERVICE STATION - DUSK (RAINING LIGHTLY)       11
</b>     Stump gets out, blows on his hands. It's cold, and a
     man comes out, the gas station owner, JONAH, 55. The
     man services the car throughout the conversation.
<b>                             STUMP
</b>               Fill it up and replace the
               wiper blades.
<b>                             JONAH
</b>               You got it.
<b>                             STUMP
</b>               Colder than a witch's tit, eh?

<b>                             JONAH
</b>               It's just starting. We got three-
               four feet of snow another thousand
               feet up. Where ya going? Skiing?
               I hate skiing.

<b>                                                (CONTINUED)
</b><b>
</b><b>                                                               13.
</b>
<b>11   CONTINUED:                                                      11
</b><b>                                STUMP
</b>                  Actually, I'm going to meet Ty Cobb.

<b>                                JONAH
</b>                  Cobb?! He stopped here for gas
                  once, I asked him for an autograph
                  for my boy and he told me to shove
                  it where the sun don't shine.
<b>                                STUMP
</b>                  I hear he's got a way with kids...

     Stump heads to a pay phone as the attendant replaces the
     wiper blades. Stump's breath hangs heavy in the air.
     It's cold. Freezing. He drops a set of coins in the
     call box. He blows on his hands and pulls up his collar
     -- he wasn't prepared for the weather to be this cold.
     He comes to life when he hears a voice on the other
     end -- a voice we never hear.
<b>                                STUMP
</b>                  Hey, baby, it's me...
                         (beat)
                  Al... your husband...
                         (beat)
                  I'm up in the woods somewhere on
                  assignment...
                         (beat)
                  Listen, sweetheart, listen --
                  nobody can love you the way I
                  love you and I want you to take
                  me back. I made a mistake.
                         (listens)
                  Okay, lots of mistakes. I know
                  I'm not worthy.

     We hear a CLICK.
<b>                                 STUMP
</b>                  Honey?   Sweetheart?   Baby?

     He flicks the receiver hook several times.       She's gone.
<b>                                                     CUT TO:
</b>

<b>12   EXT. MOUNTAIN ROAD - NIGHT                                      12
</b>     RAIN POUNDS down as the car climbs to higher elevation.

<b>                                                     CUT TO:
</b><b>
</b><b>                                                           14.
</b>
<b>13   INT. CAR - NIGHT (RAINY)                                    13
</b>     Stump struggles with a map under the dome light as he
     drives.

<b>                                                  DISSOLVE TO:
</b>
<b>     EXT. SNOW COVERED MOUNTAIN PASS - HIGHWAY - NIGHT
</b>
     Stump's car passes a sign that tells all:    DONNER PASS.
<b>                                STUMP (V.O.)
</b>                  I confess I was looking forward
                  to seeing Cobb and being near
                  his brilliance. My own life
                  seemed on hold, somehow. Everyday
                  churning out the same old articles,
                  drinking at 4 in the afternoon
                  with the same old guys, the same
                  old excuses for not writing a
                  novel, the same old confused
                  marriages that we all needed
                  and were trying to get out of
                  at the same time... Cobb was a
                  god whose brilliance, however
                  difficult, could rub off on
                  me. His problems were different
                  than mine...


<b>14   ANGLE ON STUMP'S CAR                                        14
</b>     which pulls off the road and heads up a small mountain
     road among snow-covered pines.

     A row of mailboxes catches Stump's attention, and he
     pulls over to review the names with a flashlight. He
     lights his way across the names of a dozen boxes --
     nothing, until:
     The last box, enormously oversized, bears the name "COBB."


<b>     CLOSE ON STUMP
</b>     He smiles.    Perfect.


<b>     BACK TO SCENE
</b>     His car heads up a mountain road a final hundred yards,
     comes around a bend in the trees and there it is --
<b>
</b><b>                                                           15.
</b>
<b>14   POV SHOT - HUGE MOUNTAIN LODGE                              14
</b>     In the grand style but, like the mailbox, grotesquely
     oversized.

<b>                                               CUT TO:
</b>
<b>15   EXT. MOUNTAIN LODGE - NIGHT                                 15
</b>
     Stump parks and approaches somewhat warily.
     The sound of BREAKING GLASS and SHOUTING voices.

     Stump hurries to the door to escape the rain and finds
     refuge under the eave. The noise is frightening from
     that close. He stands unsurely -- does he knock?
     When --

     The door is thrown open -- a black man, WILLIE, 40, with
     a suitcase stands wildly upset, screaming back into the
     house.
<b>                            WILLIE
</b>              Fuck you, Mr. Cobb, I have too much
              dignity to spend another moment
              with you. I hope you die before
              the sun comes up and may you rot
              in hell!
     The man whirls and is shocked to see Stump standing
     there with his own suitcase.
<b>                              WILLIE
</b>              Who are you?

<b>                              STUMP
</b>              I'm a writer.

<b>                            WILLIE
</b>              You mean he actually found somebody
              to take the job?

     Willie bursts out into crazed laughter, as if the world
     of Cobb was finally too absurd. Cobb and a writer? In
     this weather? In any weather? And the man walks through
     the rain, laughing, heading on foot down off the mountain
     as Stump just stares.

     Stump turns and steps into the open doorway.
<b>                                               CUT TO:
</b><b>
</b><b>                                                              16.
</b>
<b>16   INT. MOUNTAIN LODGE - NIGHT                                    16
</b>     Stump in the front door -- The place is enormous and
     barely lit. Taxidermied game hangs on the wall.
     Stump is terrified.
     A MAN is sitting in an overstuffed chair reading a news-
     paper. Dressed in a business suit and tie, he seems
     oblivious to the surrounding chaos. He also seems out of
     place.
<b>                             STUMP
</b>               Mr. Cobb?

     The man looks at Stump and points upstairs without
     speaking.

     More CRASHING sounds from upstairs.

<b>                             STUMP
</b>               Mr. Cobb?
     The silence is shattered by a SCRATCH, then VIOLIN MUSIC
     from upstairs. STATIC suggests a record is playing.


<b>17   ANGLE ON STAIRS                                                17
</b>     Stump climbs the stairs with caution -- Until he's just
     outside the half open door from which light spills. He
     hesitates...
<b>                              STUMP
</b>               Hello?   Mr. Cobb?
     A GUNSHOT RINGS OUT -- Ripping through the door.       Stump
     is terrified -- he gasps for air.
<b>                             STUMP
</b>               Thank you very much, Mr. Cobb,
               but I don't need this job that
               bad.

     Stump turns and creeps back toward the stairs, but --
     ANOTHER GUNSHOT RINGS OUT -- SHATTERING a hanging LAMP.

     Stump freeses one more time.     Silence.   Then the
     voice --
<b>                             COBB
</b>               Yes, Mr. Stump -- you do need this
               job that bad.
<b>                             (MORE)
</b><b>                                                   (CONTINUED)
</b><b>
</b><b>                                                              17.
</b>
<b>17   CONTINUED:                                                      17
</b><b>                                COBB (CONT'D)
</b>                         (beat)
                  Now come in here and meet the great
                  Ty Cobb.
                         (calmly)
                  I won't hurt you.

     Stump breathes deeply and steps into the doorway -- He
     does it as if there's no choice, accepting his fate. And
     sees:


<b>18   POV SHOT - TY COBB                                              18
</b>     Lying in bed in a robe. Unshaven. Bottles of booze and
     food everywhere. And bottles of pills sit on every
     surface. Two hunting dogs sit on the bed with him.
     A small record player sits next to he bed. A record
     spins, filling the room with FRITZ KREISLER VIOLIN SOLOS.
     He places the gun on      his night table, knocking pills and
     bottles to the floor      with a crash he barely notices.
     When he speaks it is      without a snarl, without threat --
     simply, even sweetly,      he says:
<b>                                COBB
</b>                  On the violin -- Fritz Kreisler.
                  I'm a great admirer of his. I'm
                  also a great admirer of yours.

<b>     BACK TO SCENE
</b>
<b>                                 STUMP
</b>                  Thank you.

<b>                                COBB
</b>                  But you are a hopeless romantic
                  and only a moderate success.

<b>                                STUMP
</b>                  Sir, I am the most successful
                  sportswriter in America and not
                  merely a 'moderate success.'

<b>                                COBB
</b>                  Of course.
                         (beat)
                  Give me those pills over there.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              18.
</b>
<b>18   CONTINUED:                                                     18
</b>     Stump retrieves some pills that Cobb is pointing towards.
     Cobb washes down a handful of pills with a bottle of
     Scotch. Momentarily revitalized, Cobb hands Stump a
     folded letter which Stump opens to read.
<b>                                COBB
</b>                  That's an invitation to a
                  testimonial dinner at the Baseball
                  Hall of Fame in Cooperstown, New
                  York. You're taking me there --
                  when is it?

<b>                                STUMP
</b>                         (looking at the letter)
                  A few weeks.

<b>                                COBB
</b>                  All the great ones will be there --
                  The great Mickey Cochrane will be
                  there! Hornsby, Sisler, Ott, the
                  Waner Brothers... we used to have
                  some parties, Stump, I'll tell ya
                  that right now...
                         (beat)
                  We can't forget.
<b>                                STUMP
</b>                  I won't forget.

<b>                                COBB
</b>                  Look at me closely, Al...
                         (with utmost
                          sincerity)
                  Lie after lie has been written
                  about me -- my whole life I've
                  been misunderstood.
                         (beat)
                  You're gonna tell the real story
                  of Ty Cobb.
<b>                                STUMP
</b>                  What's the 'real' story?
     Cobb climbs slowly out of bed.     His words are reasoned
     and not without passion.

<b>                                COBB
</b>                  That's why you're here.
                         (beat)
                  See, there's two kinds of writers.
                  The kind that spin endless yarns
                  about small subjects... that's you.
<b>                                (MORE)
</b><b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                 19.
</b>
<b>18   CONTINUED:    (2)                                                 18
</b><b>                                COBB (CONT'D)
</b>                         (beat)
                  Or... there's the kind with one
                  great subject that consumes them
                  forever.
                         (beat)
                  That could be you. Because I am
                  that subject.
     Cobb hobbles to a table in front of a window. The
     table is covered with pills, bottles, needles, and
     booze.
<b>                                COBB
</b>                         (suddenly bellowing)
                  Jameson! Get your ass up here!

     Cobb grabs another bottle of booze and swigs deeply,
     liquor spilling over him. Then, suddenly, he holds up
     his hand. A calm comes over him as --
     He stares out the window into the snowy woods.       His
     rage has quickly turned into a quiet, intense,
     unsettling focus.
<b>                               STUMP
</b>                  You okay?
<b>                               COBB
</b>                  Mmmmmm...

<b>19   POV SHOT - WOODS IN MOONLIGHT                                     19
</b>
     near the lodge. A bank of snow -- and a large buck
     moves INTO VIEW.


<b>20   CLOSE ON COBB'S FACE                                              20
</b>     His eyes light.     A flare in his nostrils.    A twitch.     And
     utter calm.

<b>     BACK TO SCENE
</b>
     Jameson, the man in the suit, arrives and stands in
     the back of the room. He takes notes when Cobb speaks.
<b>                               JAMESON (MAN)
</b>                  Sir?

     Cobb continues staring out the window at the buck.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                  20.
</b>
<b>20   CONTINUED:                                                         20
</b><b>                                COBB
</b>                  There's a small oil company near
                  Bakersfield called Honolulu Oil,
                  sitting near the Elk Hills
                  Reserve...
                         (beat)
                  I want you to buy all the stock
                  you can.
<b>                                  JAMESON
</b>                  Honolulu Oil?

<b>                                COBB
</b>                  Getty is expanding in the west,
                  looking for companies like that.
                  I got a hunch...
                         (beat)
                  Stumpy, c'mere...
     Cobb picks up the revolver and holds it lovingly.
     Stump crosses and stands behind Cobb, sharing the view.
<b>                                COBB
</b>                  I can take that buck.     What'ya
                  think?
<b>                                STUMP
</b>                  With a pistol? No way.
     Cobb smiles and loads the revolver.       He pushes the window
     which swings slowly open.


<b>21   POV SHOT - BUCK IN MOONLIGHT                                       21
</b>     searches for leaves to eat in the snow.          Serene.   Unaware.

<b>     BACK TO SCENE
</b>
<b>                                COBB
</b>                         (to Jameson)
                  There's a board meeting of
                  Coca-Cola in Georgia next week.
                  Call them up and tell them I can't
                  make it for medical --
                         (correcting
                          himself)
                  -- personal -- reasons...
                         (beat)
                  ... and sell all the 3-M stock
                  we got.
<b>
</b><b>                                                              21.
</b>
<b>22   COBB                                                           22
</b>     raises the gun -- he wobbles badly and steadies himself.
     The gun shakes. Then steadies.

     Stump stands over his shoulder watching the bizarre
     action.


<b>23   POV SHOT - BUCK RAISES ITS HEAD                                23
</b>     Just as...

     KABLAM!   The REVOLVER FIRES with a violent kick.
     The buck spins and runs back into the woods, kicking
     snow and disappearing in the brush.


<b>24   BACK TO SCENE                                                  24
</b><b>                               COBB
</b>                  Got him.
<b>                                STUMP
</b>                  Like hell you did.
<b>                                COBB
</b>                  Right behind the ear.
<b>                                STUMP
</b>                  You're full of shit.
<b>                               COBB
</b>                  Jameson?

<b>                                JAMESON
</b>                  If Mr. Cobb said he got him, then
                  he got him.

<b>                                COBB
</b>                  You have no vision, Stump. A
                  writer without vision is a waste
                  of my time. I think I picked the
                  wrong man.
     Cobb stumbles back into bed, somewhat exhausted by the
     ordeal.

<b>                                JAMESON
</b>                  And I think I better get back to
                  San Francisco before the storm
                  hits. I'll take care of these
                  transactions, Mr. Cobb.
     And Jameson exits the room.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                             22.
</b>
<b>24   CONTINUED:                                                    24
</b><b>                                STUMP
</b>                  And I'll be leaving as well,
                  sir, since you think I'm the
                  wrong man for the job.
<b>                                COBB
</b>                  Shut up, Stump -- we both know
                  that I'm your meal ticket.
                         (beat)
                  We need each other.
                         (smiles)
                  And we start in the morning.
<b>                               STUMP
</b>                  No.

<b>                                COBB
</b>                         (calmly)
                  Yes.
     Cobb reaches over and defiantly turns UP the MUSIC so
     that the room is overwhelmed with Kreisler's violin.
     Stump stares back at this decrepit, overpowering figure.

     Cobb gradually slips into sleep, buried in the music,
     the booze, the pills, the pain...
<b>                                                   CUT TO:
</b>

<b>25   EXT. MOUNTAIN LODGE - EARLY NEXT A.M.                         25
</b>     Silence.

     The morning mist hangs thick over a snowbank in the woods.
     A rabbit scurries across the snow, some quail are flushed.

     PAN ACROSS the landscape REVEALS the lodge.    Smoke curls
     from the chimney.

<b>                                                   CUT TO:
</b>
<b>26   INT. LODGE - MORNING                                          26
</b>
     Stump sits hunkered over a tiny portable typewriter on
     the kitchen table. Cobb mixes a bourbon with orange
     juice to wash down some more pills, which he takes
     randomly.

     A teletype MACHINE sits on a table nearby -- Throughout
     the scene, a tape CLICKS endlessly out, piling on the
     floor. Cobb occasionally checks data on the tape.

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                             23.
</b>
<b>26   CONTINUED:                                                    26
</b><b>                                STUMP
</b>                  Ready, Mr. Cobb.

<b>                                COBB
</b>                  Chapter one, Page one...

<b>                               STUMP
</b>                  I'm ready.
<b>                                COBB
</b>                  'Know ye that a prince and a
                  great man has fallen this day.'
     Stump types it out, then stops.

<b>                                STUMP
</b>                  What the hell is that?
<b>                                COBB
</b>                  That's what Robert E. Lee said at
                  the burial of my grandfather who
                  was a Confederate General killed
                  at Fredricksburg.

<b>                                STUMP
</b>                  So I'm taking notes?
<b>                                COBB
</b>                  Hell no. That's the first
                  line of my autobiography.
<b>                                STUMP
</b>                  I ain't writing it.

<b>                               COBB
</b>                  Why not?

<b>                                STUMP
</b>                  It's horseshit. It's a third
                  person comment about someone who's
                  already dead. An autobiography
                  has to be in the first person --
                  plus it can't come from the other
                  side of the God damn grave.

<b>                                COBB
</b>                  My story can come from any damn
                  place I want.
<b>                                STUMP
</b>                  Not to mention you can't call
                  yourself 'a prince and great
                  man' -- that's for the world
                  to decide.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              24.
</b>
<b>26   CONTINUED:     (2)                                             26
</b><b>                                COBB
</b>                  What kind of a fucking writer you
                  call yourself -- all tied up in
                  rules and regulations. What's the
                  point being a writer if you can't
                  say what you want to?

<b>                                STUMP
</b>                  You're not treating me like a
                  writer -- you're treating me like
                  a stenographer.

     BLAM! A SHOT RINGS OUT -- Stump types quickly, hunting
     and pecking with two fingers, reading aloud.

<b>                                STUMP
</b>                  Know ye that a prince and a great
                  man has fallen this day...
<b>                                COBB
</b>                  It has a certain ring to it...
<b>                                 STUMP
</b>                  Yes it does.
<b>                                COBB
</b>                  I thought you might like it.
                  It's yours, a gift from me.
                         (beat)
                  'Cobb, a prince among men,
                  misunderstood in his genius, as
                  genius always is' -
                         (demands from
                          Stump)
                  This is the second line from what
                  will be the greatest biography of
                  a great man ever written -- type
                  it!
     Cobb checks the tape and suddenly is deep in thought
     over some information coming across. Stump types.

<b>                                COBB
</b>                  Bethlehem Steel's about to dive.

     Cobb grabs a phone and dials -- Then barks into the
     phone.
<b>                                COBB
</b>                         (on phone)
                  Jameson. Bethlehem's going in
                  the toilet. Dump it all!
     Cobb slams down the phone, momentarily lost in finance.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                25.
</b>
<b>26   CONTINUED:    (3)                                                26
</b><b>                                STUMP
</b>                  You got a stock tip for me?

<b>                                COBB
</b>                  Yeah... buy Coca-Cola. We're
                  about to go out in cans.

<b>                                  STUMP
</b>                  Coke in cans?    I don't think so.
     Cobb just stares back in disdain.      Then, suddenly --

     Cobb starts coughing terribly. He clutches his torso
     as if it were about to fall into pieces.

<b>                                COBB
</b>                  You know what's wrong with Ty
                  Cobb?
<b>                                  STUMP
</b>                  What?
<b>                                COBB
</b>                         (proudly)
                  Every disease known to man -- I
                  got 'em all! And they'll never
                  get me in a hospital -- never!
                         (beat)
                  My heart leaks -- the doctors who
                  are nothin' but a buncha hacksaw
                  artists give me Digoxin to keep it
                  pumping...
     Cobb grabs a bottle of Digoxin pills and flings it across
     the room in a rage. He flings bottles of pills as he
     recites his ailments.

<b>                                COBB
</b>                  They give me Darvon for the
                  cancer in my back, they give
                  me Tace for something eatin'
                  up my stomach, Fleets Compound
                  for an infection in my bowels,
                  Librium for my tension, insulin
                  for my diabetes...

     Cobb grabs a hypodermic needle and awkwardly pours from
     a bottle into the chamber. Insulin spills as he does.
<b>                                COBB
</b>                  Fuckin' insulin...

     He jams the needle wildly into his arm without hesitation.
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                              26.
</b>
<b>26   CONTINUED:    (4)                                              26
</b>     He takes a deep breath as if the drug has produced an
     immediate relief from pain.

<b>                                COBB
</b>                  And if all that wasn't enough,
                  it's been two years since I
                  got my pecker in the air...
                         (beat)
                  The South may not rise again but
                  my dick will.

     The PHONE RINGS.
<b>                                COBB
</b>                         (barks)
                  I ain't here!

     Stump answers the phone.
<b>                                STUMP
</b>                         (answering the phone)
                  Cobb's residence... hello.
                         (beat)
                  He's not here -- who's calling?
                  Ernie? Ernie who?
                         (his face drops)
                  My God...
                         (to Cobb)
                  It's Ernest Hemingway... for you.
<b>                                COBB
</b>                  Tell him to go to hell!
     Stump covers the receiver nervously.
<b>                                 STUMP
</b>                  Jesus  Christ, Ty, this is the
                  great  American writer -- this
                  is the  man who inspired me to
                  become  a writer!

<b>                                COBB
</b>                  Tell him to go to hell anyway.
<b>                                STUMP
</b>                  Why?

<b>                                COBB
</b>                  Him and me used to be pals but we
                  went on a hunting trip once and he
                  hired a shitty guide.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              27.
</b>
<b>26   CONTINUED:    (5)                                              26
</b><b>                                STUMP
</b>                  That's it? You didn't like a
                  guide he hired?
     Cobb looks at Stump with a fierceness that is so over-
     whelming, so physical, that Stump melts.

<b>                                COBB
</b>                  You tell him to go fuck himself
                  or I'll kick your Yankee ass!

     Stump is terrified.    He reluctantly uncovers the
     receiver.
<b>                                STUMP
</b>                  Mr. Hemingway? Mr. Cobb says...
                  to go to hell.
                         (awkwardly)
                  By the way I'm a big fan of
                  yours --
     CLICK, a hang up.
     Cobb settles into a chair, letting the drugs and pills
     and booze work their way into his thick body.
<b>                                COBB
</b>                  Hemingway isn't a bullfighter -- he
                  wrote about bullfighting. What
                  the hell is that?!
                         (beat)
                  Bullshit... Damn painkillers...
     Cobb rubs his head -- The drugs are taking effect.
<b>                                  STUMP
</b>                  Ty, you okay?

<b>                                COBB
</b>                  It'll pass...
                         (increasingly
                          woozy)
                  Stumpy, listen to me -- you know
                  what I need?

<b>                                STUMP
</b>                  What do you need?
<b>                                COBB
</b>                  I need a woman.
                         (muttering to
                          sleep)
                  A woman is definitely what I
                  need...

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                            28.
</b>
<b>26   CONTINUED:    (6)                                            26
</b>     And Cobb drifts to sleep in his chair, momentarily
     overcome with painkillers.

     Stump stares at the sleeping volcano of a man, and
     when Cobb starts snoring heavily, he rises, pulls on
     a coat, scarf, and hat, and heads out the door.

<b>                                                  CUT TO:
</b>
<b>27   EXT. LODGE - DUSK                                            27
</b>
     Snow flurries greet Stump as he heads outside, and
     darkness is falling. He takes a deep breath.

<b>                                STUMP (V.O.)
</b>                  I couldn't be around the man for
                  long without needing a break, which
                  his painkillers gracefully
                  provided.
                         (beat)
                  My sanity would soon depend upon
                  a frequent breath of fresh air, a
                  walk in the woods -- any escape
                  from what one sportswriter had
                  called 'Cobb's brooding soul that
                  bubbled with violence.'
     Stump lights a pipe as he walks up a trail, away from the
     lodge, toward a ridge, all covered with snow. The
     flurries of snow are getting thicker now.
<b>                                STUMP (V.O.)
</b>                  I knew most of the Cobb stories --
                  first man elected to the Hall of
                  Fame, ahead of the incomparable
                  Babe Ruth. Statistics that haven't
                  been approached in three-quarters
                  of a century.
     Stump stops at the ridge and looks down at the partially
     frozen Lake Tahoe in the lingering light.
<b>                                STUMP (V.O.)
</b>                  But I'd known boxing champions and
                  football players -- they were
                  gentle souls outside the arena.
                         (beat)
                  How much of Cobb was an act, a
                  lifetime of theatrical intimidation
                  to preserve his own legend?
<b>                                (MORE)
</b><b>                                                  (CONTINUED)
</b><b>
</b><b>                                                              29.
</b>
<b>27   CONTINUED:                                                     27
</b><b>                                STUMP (CONT'D)
</b>                  Legends grow in time. Tough guys
                  are tougher, women more beautiful,
                  routine acts of self-preservation
                  become heroic.

     Stump continues walking down a crest of snow, through
     a stand of snow-covered pines. The light is dark,
     purple, eerie, and Stump is lost in thought, until,
     suddenly, he sees:

     A trail of blood in the snow. He follows it down a
     slope, past a tree, growing deeper, thicker. And there
     it is --

     The buck lies dead in the snow in a pool of blood.
     Stump stops in fear, then approaches, leans down
     and examines --
<b>                               STUMP
</b>                  My God...
     The buck's head has a hole blasted behind the ear.

     Stump rises quickly to his feet and looks around.
     The woods are silent. Snow falls from a branch. And...
     He hurries back through the woods up the ridge, momen-
     tarily lost as the snow swirls, he finally spots the
     lodge.
<b>                                                    CUT TO:
</b>

<b>28   INT. LODGE - NIGHT                                             28
</b>     Stump bursts into the lodge as the brewing storm blows
     in.
     Cobb is standing there in a hunting jacket, high laced
     boots, a hat, with a suitcase. He holds a paper bag
     wrapped in twine.
<b>                                COBB
</b>                  We're going to Reno.   I want a
                  woman.

<b>                                STUMP
</b>                  There's a blizzard out there!

<b>                                COBB
</b>                  When a man wants a woman, a man
                  wants a woman.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              30.
</b>
<b>28   CONTINUED:                                                     28
</b><b>                                STUMP
</b>                  Let's just put on some soup, build
                  a fire, and we can work on the
                  book.
<b>                                COBB
</b>                  How cozy.
                         (holds up the
                          paper bag)
                  I got 25 thousand in cash and
                  negotiable securities in here.
                  Don't let it out of your sight.
<b>                                STUMP
</b>                  Look, Ty, the roads are impassable.

<b>                                COBB
</b>                  You lead, I'll follow.
<b>                                STUMP
</b>                  I'm not driving in this stuff!
<b>                                COBB
</b>                  I need a woman!
<b>                                                    CUT TO:
</b>

<b>29   EXT. TWO LANE HIGHWAY IN SIERRAS - DUSK                        29
</b>     A blizzard -- two cars ease down an ice-covered road
     in an increasingly horrendous snowstorm.


<b>30   INT. STUMP'S CAR - DUSK                                        30
</b>     Stump is terrified, straining to see through the
     flurries which grow thicker by the second. He keeps
     checking his rearview mirror.

<b>     POV SHOT THROUGH REARVIEW MIRROR
</b>     Cobb at the wheel of a huge, black, Chrysler Imperial.
     He looks possessed.


<b>31   INT. COBB'S CAR - DUSK                                         31
</b>     Cobb at the wheel -- A madman.

<b>                                COBB
</b>                  You call that driving, Alice?!
                  My sister can drive faster than
                  that! Step on it!
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                            31.
</b>
<b>31   CONTINUED:                                                   31
</b>     He grabs a bottle of bourbon on the seat and chugs it
     down.

<b>32   EXT. HIGHWAY IN BLIZZARD - DUSK                              32
</b>
     A treacherous cliff drops quickly away from the road,
     certain death protected by an inadequate guardrail.
     Into a blizzard, increasingly out of control, the cars
     slip and slide and skid down the mountain.

     Cobb leans on his HORN -- HONK, HONK, HONK.

<b>33   INT. STUMP'S CAR - DUSK                                      33
</b>
     Stump struggles to hang on as the car fishtails on
     the edge of losing control. He keeps glancing at
     Cobb who continues screaming.
<b>                                COBB
</b>                  Get off the road -- ya can't
                  drive any faster?! Move it!
     Stump is caught between fear and rage.
<b>                                STUMP
</b>                  Fuck you! I ain't dying in
                  this God damn ice cube!

<b>34   INT. COBB'S CAR - DUSK                                       34
</b>
     Cobb's eyes flare -- The WIND roars, the blizzard beats
     against the windshield.

<b>                                COBB
</b>                         (muttering)
                  The man drives like an old woman...

     Cobb steps on the gas -- His car pulls out into the
     oncoming lane and accelerates to pass.

<b>35   EXT. HIGHWAY IN BLIZZARD - DUSK                              35
</b>
     Cobb's car passes Stump's car down the steep grade.
     Insane, impossible, suicidal -- not another car on the
     road, the highway closed, barely visible... and here
     comes Cobb.

     Stump stares in disbelief as he clings to the wheel.
<b>
</b><b>                                                            32.
</b>
<b>36   STUMP'S POV                                                  36
</b>     Cobb waves his fist as he speeds past --


<b>37   CLOSE ON COBB                                                37
</b>     He laughs, cackling madly at Stump.

<b>                             COBB
</b>               Drive, motherfucker, drive!

<b>38   STUMP'S POV                                                  38
</b>     The black Chrysler rushes down the mountain into the
     raging storm.


<b>     STUMP
</b>     struggles to see through the windshield -- snow is
     swirling everywhere.


<b>     STUMP'S POV
</b>     Cobb's car disappears into the blizzard, fishtailing as
     it goes.


<b>     BACK TO SCENE
</b><b>                            STUMP
</b>               Jesus...


<b>39   EXT. HIGHWAY                                                 39
</b>
     Stump's car creeps along the edge of a deep ravine that
     plunges to a raging, icy river. The car fishtails,
     straightens, and continues on, slowly groping down the
     mountain.

<b>40   CLOSE ON STUMP                                               40
</b>
     Sheer terror. It takes his full powers of concentration
     to keep the car on the road.
<b>                             STUMP
</b>                      (to himself)
               He's a goner, Al, save your own
               God damn ass...
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                           33.
</b>
<b>40   CONTINUED:                                                  40
</b><b>     CLOSER ON STUMP
</b>
     He sees something.

<b>41   EXT. HIGHWAY                                                41
</b>
     His car lights reveal tire tracks in the snowdrifts on
     the highway. The tracks skid wildly, clearly out of
     control, and head straight off the road.


<b>42   ANOTHER ANGLE                                               42
</b>     Stump stops his car and gets out -- He hurries to the
     edge of the road where the bank drops away quickly.


<b>     POV SHOT - COBB'S CAR
</b>     lies nose down at the bottom of a snow-filled ravine,
     thirty feet away. The tail lights are still on. The
     car is totalled.


<b>     BACK TO SCENE
</b><b>                                  STUMP
</b>                  Cobb!
     Stump plows his way on foot down the embankment, fighting
     bad footing and snowdrifts, until --
     He arrives at the car -- Surely nobody could survive
     this. With difficulty, he makes his way to the back door
     of the huge car and wrestles it open.

     Stump sticks the top half of his body into the car.
<b>                                  STUMP
</b>                  Cobb?

     Cobb lies upside down, ass in the air, his face buried
     under the dash of the car. There's blood on his face.

<b>                                COBB
</b>                  It's about fucking time you
                  got here!
<b>                                  STUMP
</b>                  You've alive?

     Cobb struggles to right himself, twisting and turning
     free.

<b>                                                (CONTINUED)
</b><b>
</b><b>                                                             34.
</b>
<b>42   CONTINUED:                                                    42
</b><b>                                COBB
</b>                  I wouldn't call it living but
                  it'll do. Help me outta here.
     Stump helps Cobb back out of the car.    It is an awkward,
     clumsy, difficult task.

<b>                                STUMP
</b>                  There's blood!
<b>                                COBB
</b>                  Of course there's blood! I just
                  put my head through the windshield
                  of a car, what the hell ya think,
                  ya big fucking jerk.

<b>                                 STUMP
</b>                  Shut up!
<b>                                COBB
</b>                  Ty Cobb can't die like this!
                  They'll bury me and nobody'll
                  know who it is!

<b>                                STUMP
</b>                  I said shut up.
     Stump drags Cobb awkwardly through the snowbank back up
     to the highway. When they get to the edge of the high-
     way, Cobb stops to stare at the tire tracks leaving the
     road.
<b>                                COBB
</b>                  Look't that! No guard rail! I'm
                  suing the State Highway Commission,
                  I'm suing the Governor, I'm suing
                  every God damn body!
                         (outraged)
                  I coulda been killed!
<b>                                STUMP
</b>                  God damn it, shut up and get in
                  the car!
     The blizzard swirls around the two men, now at Stump's
     car on the highway.

<b>                                COBB
</b>                  Gimme your keys, I'm driving.

<b>                                 STUMP
</b>                  I'm driving.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              35.
</b>
<b>42   CONTINUED:    (2)                                              42
</b><b>                                COBB
</b>                  Do you know how to get to Reno?
                  Hell, no! I'm driving.
<b>                                STUMP
</b>                  Over my dead body!

     Cobb pulls a gun from his overcoat pocket and aims
     it right at Stump's head.
<b>                               COBB
</b>                  Your call.
<b>                                STUMP
</b>                  You miserable son of a bitch. You
                  coward, you pathetic, frightened,
                  desperate old man -- you can't do
                  anything without that gun and
                  frankly it doesn't impress me to
                  keep flashing it because I know
                  you're not gonna shoot me 'cause
                  you need me worse than I need you.
                  What, you're gonna kill me?

     Cobb smiles. He loves it when someone stands up to him.
     He thrives on confrontation.
<b>                                COBB
</b>                  I've killed a man.
<b>                                STUMP
</b>                  Fine, then put me outta my fuckin'
                  misery. I'm freezing.

     Cobb hands the gun to Stump.
<b>                                COBB
</b>                  Here ya go, Stumpy. I like a man
                  who stands up to me.
     Stump holds the gun awkwardly, not knowing what to do.

<b>                                COBB
</b>                  Now give me the keys.   I'm
                  driving.

<b>                                                    CUT TO:
</b>
<b>43   EXT. HIGHWAY TO RENO - DUSK (MOMENTS LATER)                    43
</b>
     The car races down the mountain -- a wild ride.
<b>
</b><b>                                                           36.
</b>
<b>44   INT. CAR IN BLIZZARD - NIGHT                                44
</b>     Cobb at the wheel is perfectly happy and at peace. Stump,
     in the passenger's seat, braces himself for certain death.

<b>                            COBB
</b>              It's only another hour -- plenty
              of time to tell you my story
              before we find us some women.

<b>                             STUMP
</b>              Women?   Plural?

<b>                            COBB
</b>              Some for you, some for me. We'll
              have a helluva time. The
              broads're probably lining up right
              now, waiting for ol' Ty and his
              buddy Stump.
<b>                            STUMP
</b>                     (muttering)
              Dear God...
     And Cobb launches in as he accelerates down the mountain,
     every curve risking death. He seems at peace with the
     world -- in the driver's seat, literally, on the edge of
     being utterly out of control.
<b>                            COBB
</b>              I suppose you want to know about
              my childhood. Writers usually do.
<b>                            STUMP
</b>              None of this 'know ye that a
              prince and great man has fallen'
              stuff --
<b>                            COBB
</b>              My philosophy is simply this   --
              Life is too short to be
              diplomatic. A man's friends
              shouldn't mind what he does  or
              says, and those who are not  his
              friends, well, to hell with  'em.
     And Cobb drifts into a story of his youth. He's suddenly
     so relaxed that he pays little attention to the road.

<b>                            COBB
</b>              I was born in a small town in
              Georgia, of course... my sweet
              sister Florence still lives
              there...
<b>                            (MORE)
</b><b>                                                  (CONTINUED)
</b><b>
</b><b>                                                              37.
</b>
<b>44   CONTINUED:                                                     44
</b><b>                                COBB (CONT"D)
</b>                         (beat)
                  And I started playing baseball
                  when I was a kid like everybody
                  else only I was better than every-
                  body else. When I was seventeen I
                  started playing for money -- my
                  father didn't approve.
                         (beat)
                  He was a great man...


<b>45   EXT. HIGHWAY                                                   45
</b>     As the snow whirls around the car hurtling down the
     mountain, the snowflakes FILL the SCREEN and turn to
     confetti as we:
<b>                                                     DISSOLVE TO:
</b>

<b>46   EXT. ROYSTON (GEORGIA) - DAY (1900) (B&W)                      46
</b>     Confetti falls from the sky -- PROFESSOR COBB, 40, Ty's
     father, waves to the crowd in front of city hall. Signs
     everywhere declare him to be the newly elected MAYOR COBB.
     A band plays "Sweet Georgia Brown" as the Mayor makes a
     victory speech.
<b>                                COBB (V.O.)
</b>                  He was the mayor, they were
                  grooming him for governor, he was
                  a learned man, a professor, and
                  the Head Deacon in the Baptist
                  Church.


<b>47   INT. BAPTIST CHURCH - DAY (B&W)                                47
</b>     Professor Cobb sings loudly with the Deacons behind the
     Pastor as the CONGREGATION joins in.
<b>                                CONGREGATION
</b>                         (sings loudly)
                  'There is a fountain filled with
                     blood,
                  Drawn from Emmanuel's veins...'

<b>     CLOSE ON TY'S MOTHER
</b>
     Very young and pretty, singing in the Congregation. And
     young Ty next to her, also singing at the top of his
     voice.
<b>                                                (CONTINUED)
</b><b>
</b><b>                                                              38.
</b>
<b>47   CONTINUED:                                                     47
</b><b>                                COBB (V.O.)
</b>                  My mother was the most beautiful
                  woman in the county... she married
                  my father when she was twelve
                  which was the way they used to do
                  it.
                         (beat)
                  And she taught me to believe in
                  the hymns we sang... I especially
                  liked the bloody ones...
                         (singing the hymn)
                  'And sinners plunged beneath that
                     flood,
                  Lose all their guilty stains...'


<b>48   EXT. RIVER IN GEORGIA - DAY (B&W)                              48
</b>     Young Ty Cobb is baptized in the river.
<b>                                COBB (V.O.)
</b>                  I remember after I was baptized
                  and I was walking home with my
                  pals...


<b>49   EXT. TRAIN TRACK IN RURAL GEORGIA - DAY (B&W)                  49
</b>     Young Ty and three buddies walk along the track.
<b>                                COBB (V.O.)
</b>                  I was feeling very Christian,
                  ready to live the good life --
                  my father didn't drink, smoke,
                  gamble or chase women -- and I
                  wasn't going to either --

     The boys skip rocks and start across a trestle bridge.
<b>                                COBB (V.O.)
</b>                  ... when all of a sudden a train
                  was coming at us.

<b>     POV SHOT - TRAIN
</b>
     headed right for the boys.
<b>                                COBB (V.O.)
</b>                  There I was, a newly baptized
                  child of God who hadn't hardly
                  sinned, and I was gonna die.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                             39.
</b>
<b>49   CONTINUED:                                                    49
</b><b>     BACK TO SCENE
</b>
     The other other boys leap safely into the river, well
     ahead of the oncoming train. But young Ty stays on the
     tracks.

<b>                                COBB (V.O.)
</b>                  The engine bore down on me till
                  I could see the whites of the
                  engineer's eyes -- I was
                  thrilled...

<b>     CLOSE ON ENGINEER
</b>
     He pulls the WHISTLE and screams at the young boy standing
     defiantly on the track.


<b>     CLOSE ON YOUNG COBB
</b>     His face filled with excitement as the space between him
     and the engine reduces to nothing.


<b>     NEW ANGLE
</b>     Closer and closer the engine comes -- 50 yards, 25 yards,
     10, five, four, three... moments before death --
     Young Ty Cobb leaps to safety, flying in front of the
     engine, out over the water till he splashes, mere milli-
     seconds before he would have been crushed to death.

     Young Cobb surfaces in the river and waves his arms in
     triumph. His pals shriek with delight and embrace him at
     his courage.

<b>                                COBB (V.O.)
</b>                  ... it was the greatest thrill in
                  my life not counting the first
                  time I saw a woman naked...

<b>50   SERIES OF SHOTS (B&W)                                         50
</b>
     Other trains on other tracks bearing down on young Cobb.
     In each case --
     Young Cobb dances in the track and leaps with grace to
     safety.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              40.
</b>
<b>50   CONTINUED:                                                     50
</b><b>                                COBB (V.O.)
</b>                  I felt protected. By my father,
                  my mother, the baptism, I don't
                  know -- but from that moment on
                  I knew I couldn't be hurt.


<b>     SERIES OF SHOTS
</b>     Young Cobb hurtles through the air toward the river, just
     missing the locomotive...

<b>                                                    CUT TO:
</b>
<b>51   INT. CAR IN BLIZZARD - DUSK                                    51
</b>
     Cobb and Stump continue racing down the mountainside.
<b>                                COBB
</b>                  My father died in a terrible
                  accident, you know.
<b>                                STUMP
</b>                  No, I didn't, really...
<b>                                COBB
</b>                  Didn't you do your research on me
                  before you came up here?
<b>                                STUMP
</b>                  I didn't have time... I mean, I
                  knew the basics.

<b>                                COBB
</b>                  Then you've read that I'm the
                  meanest bastard of them all?

<b>                                STUMP
</b>                  People have said that, yes...

<b>                                COBB
</b>                  I don't care what people think.
<b>                                STUMP
</b>                  Then why do you care what I write?

<b>                                COBB
</b>                  I am who I tell you I am!   Why
                  are you making things so
                  complicated?!

<b>                                STUMP
</b>                  That's what writers do.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              41.
</b>
<b>51   CONTINUED:                                                     51
</b><b>                                COBB
</b>                  Well writers oughta make things
                  simple! Everything's complicated
                  enough as it is.
<b>                                STUMP
</b>                         (mutters)
                  Maybe you're right!
<b>                                COBB
</b>                  Of course I'm right!

     Stump suddenly looks up and shouts in terror.
<b>                                STUMP
</b>                  Ty!

     A snow-covered truck in the middle of the road, broken
     down and abandoned, is on top of us.
<b>                                STUMP
</b>                  Godddddddd!
     Cobb spins the wheel -- The car spins out of control,
     just missing the truck, and hurtling on down the icy
     highway.
<b>                                COBB
</b>                  Don't shout like that, Stumpy --
                  it just increases my tension. I
                  saw that truck all along -- you
                  think I'm gonna hit a truck when
                  I'm getting close to finding me
                  some women?
     Stump is in sheer terror by this time.

<b>                                COBB
</b>                  My father was murdered, y'know.
<b>                                STUMP
</b>                  Your father was murdered?
<b>                                COBB
</b>                  I mean that's the sort of thing
                  you're looking for, isn't it?
                         (beat)
                  Murdered on the balcony of his
                  own house... the house I grew up
                  in...

<b>                                                     DISSOLVE TO:
</b><b>
</b><b>                                                            42.
</b>
<b>52   EXT. GABLED HOUSE IN GEORGIA - NIGHT (B&W)                   52
</b>     The head of a horse in f.g., shaking its head, uncomfort-
     able with the bit in its mouth. In the b.g., the gabled
     house in the moonlight. A small light spills from a
     second- floor window onto the balcony.
     A man on the balcony porch moves toward the window from
     which light spills.

     The man pulls up the window and --
     KABLAM! A SHOTGUN BLAST rips the silence and darkness.
     The man falls on his back.
     KABLAM!   A second SHOTGUN BLAST takes off his head.

<b>                                                  CUT TO:
</b>

<b>53   INT. CAR ON HIGHWAY - DUSK                                   53
</b>     Stump is stunned by this information as the car careens
     wildly down the mountainside.
<b>                              STUMP
</b>                Your father was murdered? How
                come nobody knows about this?
<b>                              COBB
</b>                The oldtimers in Royston know
                about it. Nobody else's business.
                It happened when I was 17, a few
                days before Detroit called me up.
<b>                              STUMP
</b>                But this helps explain why --
     He catches himself.

<b>                              COBB
</b>                Why I'm such a prick? Ha!
                       (laughs)
                That's too easy -- you're a
                better writer than that --
<b>                              STUMP
</b>                Was the killer ever caught?

<b>                              COBB
</b>                There was an arrest, a trial, and
                an acquittal. Nobody was ever
                convicted.

<b>                              STUMP
</b>                Jesus Christ --

<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                43.
</b>
<b>53   CONTINUED:                                                       53
</b><b>                                COBB
</b>                  Aw, don't go sob-sister on me,
                  Stumpy.
                         (beat)
                  The only thing that finally
                  matters is a man's accomplishments
                  and I must say, in all humility,
                  Al, in all humility -- I was the
                  greatest ballplayer of all time.
                  Nobody is even a close second.

<b>                                                      DISSOLVE TO:
</b>
54   EXT. DETROIT BALL PARK - DETROIT DUGOUT - DAY (c1910)            54
<b>     (B&W)
</b>
     A gambling den. Money on the bench. Two men is suits are
     placing bets, intermingling with the players. A player
     smokes, another drinks -- this is as far from the anti-
     septic modern game as can be imagined.
     Cobb, early 20's, selects his bat, talks to the gambler.

<b>                                COBB
</b>                  Single to left, steal second,
                  steal third, steal home...
<b>                                  GAMBLER
</b>                  Eight to one.
<b>                                  COBB
</b>                  Fuck you!

<b>                                  GAMBLER
</b>                  Ten to one.

<b>                                  COBB
</b>                  You're on.
     Cobb tosses some money on the pile, and climbs up the
     dugout steps, shouting.
<b>                                                      CUT TO:
</b>

<b>55   EXT. ON-DECK CIRCLE - DAY (B&W)                                  55
</b>     Cobb swings the bat and shouts at the pitcher.

<b>                                COBB
</b>                  Hey, greaseball, check your wife
                  -- one of the players is missing!
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                            44.
</b>
<b>55   CONTINUED:                                                   55
</b>     The pitcher flips Cobb the finger and takes a sign, deliv-
     ering a pitch which is swung on and missed, strike three.

     Cobb heads to the plate, passing his dejected teammate
     who has just struck out.

<b>                                COBB
</b>                  Who the hell ever signed you?
<b>                                  TEAMMATE
</b>                  Go to hell.

     Cobb laughs -- He seems to feed on these exchanges, and
     he stands in at the plate, addressing the UMPIRE.

<b>                                COBB
</b>                  Hey, Cyclops, you're missing a
                  good game.
<b>                                UMPIRE
</b>                  Shut up, Cobb.
     As Cobb digs in, he reaches into his back pocket and
     drops something on home plate, in front of the CATCHER.
<b>                                  COBB
</b>                  Here ya go...
     The Catcher holds up a pair of women's panties.
<b>                                COBB
</b>                  Your old lady left 'em in my car
                  last night -- I thought you could
                  give 'em back to her.


<b>     CLOSE ON CATCHER
</b>
     He flips his thumb, a sign for the pitcher to deck Cobb.
<b>                                CATCHER
</b>                  You're going down, Cobb.
<b>                                  COBB
</b>                  Let's go.

     The pitcher delivers a fastball right at Cobb's head --
     He hits the dirt just before the pitch arrives (and this
     is long before players wore protective headgear).

     Cobb rises, laughing defiantly.

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                            45.
</b>
<b>55   CONTINUED:    (2)                                            55
</b><b>                                COBB
</b>                         (to the pitcher)
                  That's as hard as you can throw?!
                  Shit, it that was my fastball I'd
                  wear a dress!

     Then Cobb shouts at the shortstop, a large German-American
     athlete, the great HONUS WAGNER.
<b>                                COBB
</b>                  Hey, Wagner! I'd shade me a
                  little up the middle if I was
                  you!
     Wagner doesn't budge, comfortable in his position, not
     drawn into Cobb's taunts. Stoic, implacable -- far from
     Cobb.
<b>                                COBB
</b>                         (to catcher)
                  You try to take my head off then
                  you throw a sinker away, in and
                  out, same old shit -- sinker
                  away...


<b>     CLOSE ON COBB
</b>     His chatter stops, his focus is intense and sudden. He
     holds the bat strangely, with a split grip, a left-
     handed batter, he dangles the bat almost parallel to the
     ground. For all his fierceness, there's a delicacy in
     the way he holds the bat. A baton, a paintbrush, a magic
     wand...


<b>     NEW ANGLE
</b>
     Here comes the pitch -- sinker away -- and Cobb unleashes
     a swing that is at once quick and powerful. He drives the
     ball to left, the opposite way --

     Wagner lunges to his right -- But the ball skips into
     left.

     Cobb streaks to first and rounds the base viciously, daring
     to stretch it into a double but slamming on the brakes and
     returning to first when the throw rifles into second.
     Cobb shouts defiantly at the pitcher.

<b>                                COBB
</b>                  You God damn coward! You shoulda
                  thrown at me again! You shoulda
                  hit me in the fucking head!
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                              46.
</b>
<b>55   CONTINUED:    (3)                                               55
</b>     Cobb looks down at Wagner who stands implacably at short-
     stop, a large, powerfully-built man.

<b>                                COBB
</b>                  Hey, Krauthead, I'm coming down.


<b>     CLOSE ON WAGNER
</b>     He just nods.


<b>     NEW ANGLE
</b>     The pitcher stretches, looks and delivers -- and Cobb
     breaks for second. The pitch is wide. The Catcher fires.

     Wagner takes the throw as Cobb arrives in a spikes-up
     slide.
     And Wagner swipes a brutal tag in Cobb's face -- his giant
     ham of a hand in the tiny glove clutching the ball lashes
     across Cobb's mouth. Blood gushes. The ball pops free.
     Wagner seems unbothered by the fact that Cobb is safe at
     second -- he has bloodied Cobb's face. Cobb seems unboth-
     ered by the fact that his face is a bloody mess -- he has
     stolen second. Both men seem satisfied.


<b>     BACK IN DUGOUT
</b>     More money is wagered.


<b>     PITCHER
</b>     Stretches and delivers -- Cobb takes off for third.       The
     throw is high -- he slides in safely.

<b>     IN STANDS
</b>
     Bets are doubled. The stands are full of wagering. The
     whole ballpark is like a giant saloon -- drinking,
     smoking, wagering -- and the game is played by thugs and
     brigands.

<b>     COBB ON THIRD
</b>
     Yells at the pitcher and Catcher.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                             47.
</b>
<b>55   CONTINUED:    (4)                                             55
</b><b>                                COBB
</b>                  You want in on the action? My
                  mother has a better arm than you!
                         (to the Catcher)
                  I'm coming to you, greaseball!
                  Coming to kick your dago ass!


<b>     CATCHER
</b>     steals a glance at Cobb who takes a menacing lead off
     third. The Catcher gives a signal to the pitcher.

<b>     PITCHER
</b>
     nods, winds up, and as he does --
     Here comes Cobb with a recklessness beyond reason. And
     as the pitch arrives in the Catcher's hands, the Catcher
     digs in to take on Cobb --
     Cobb slides spikes high, flying above the earth, his back
     leg slashing his spikes like knives. It is a slide of
     utter defiance and violence, a slide intended to harm.
     A vicious collision between Cobb and the catcher -- blood
     and dust. The ball rolls free. Safe.

     Cobb and the catcher immediately start punching and in
     seconds, a brawl breaks out, both benches clearing. As
     the police rush out to break up the brawl...
<b>                                COBB (V.O.)
</b>                  In those days you didn't hold
                  hands and dance with the men on
                  the other teams. They were the
                  enemy -- you fought with 'em.
                         (beat)
                  And I was the most hated man in
                  baseball.

<b>56   EXT. PHILADELPHIA BALLPARK - DAY (B&W)                        56
</b>
     Cobb enters the stadium through the dugout. The crowd
     rises to boo Cobb. The boos are overpowering.
     Cobb warms up in front of the dugout. The boos are
     deafening. The vindictive threats are ceaseless.

<b>                                FAN #1
</b>                  You're a shit, Cobb!
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              48.
</b>
<b>56   CONTINUED:                                                     56
</b>     Cobb continues warming up.

<b>                                FAN #2
</b>                  I hate your guts, Cobb!
     Cobb tips his hat and speaks easily to the fan.

<b>                                COBB
</b>                  A good day to you, too, sir...
     The police escort Cobb to right field -- the roar of the
     vitriolic crowd increases.
<b>                                COBB (V.O.)
</b>                  Do you know what it's like to be
                  booed like that?

     Cobb in right with the cops -- the crowd on its feet,
     booing so loudly that the air is all one giant, wailing
     moan of hatred.
<b>                                COBB (V.O.)
</b>                  It feels wonderful! They couldn't
                  live without me! They came to the
                  ballpark to see me!

<b>57   INT. HOTEL ROOM - NIGHT (B&W)                                  57
</b>
     Cobb opens a stack of mail -- a police chief and subor-
     dinate officers are with him.


<b>     CLOSE ON MAIL
</b>     Cut-out letters read:    "COBB - YOU'RE DEAD"

     Cobb puffs on a cigar defiantly as he reads his hate
     mail.
<b>                                COBB (V.O.)
</b>                  Fifty thousand fans trying to kill
                  me everywhere I went!

<b>58   EXT. PHILADELPHIA BALLPARK - DAY       (B&W)                   58
</b>
     Armed police patrol the stands looking for snipers as
     Cobb plays the game in right field surrounded by police.

     The booing increases -- fans truly hate him.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              49.
</b>
<b>58   CONTINUED:                                                     58
</b><b>     CLOSE ON COBB
</b>
     He smiles.
<b>                               COBB (V.O.)
</b>                  I loved it. Only great men are
                  booed. Captains of industry and
                  presidents. I knew 'em all...

<b>59   EXT. WHITE HOUSE (C. 1920)    (B&W)                            59
</b>
<b>     INT. WHITE HOUSE STUDY
</b>
     Woodrow Wilson and Cobb have a drink.

<b>                                COBB (V.O.)
</b>                  Woodrow Wilson had the best
                  Scotch...

<b>60   INT. WHITE HOUSE STUDY (B&W)                                   60
</b>
     Harding, Cobb and others play cards. A lot of money is
     on the table. And booze. And women that look suspi-
     ciously like they've been hired. A floozy drapes herself
     around President Harding.

<b>                                COBB (V.O.)
</b>                  Warren Harding had the best
                  broads...


<b>61   INT. WHITE HOUSE STUDY (B&W)                                   61
</b>     A formal portrait with President Calvin Coolidge and
     Cobb. Coolidge doesn't smile, doesn't seem to do any-
     thing. Just another portrait.
<b>                                COBB (V.O.)
</b>                  And Calvin Coolidge wasn't any
                  damn fun at all...

<b>     CLOSE ON COBB'S MOUTH
</b>
     during the portrait.    We can read his lips as he mouths
     "fuck you" silently.

<b>                                                    CUT TO:
</b><b>
</b><b>                                                          50.
</b>
<b>62   INT. CAR CAREENING DOWN MOUNTAINSIDE - DUSK                62
</b>     Like an out of control bobsled -- Cobb races and Stump
     hangs on for his life.

<b>                            COBB
</b>              After World War Two, General
              Patton asked me for an autograph
              -- he said he patterned himself
              after me!
                     (beat)
              Are you getting this?

<b>                            STUMP
</b>              I'll remember.
<b>                            COBB
</b>              Why aren't you writing?!

<b>                            STUMP
</b>              'Cause I'm trying to have a good
              grip on things when this car goes
              over the next cliff! I ain't
              ready to die yet!
     Cobb's tone changes suddenly -- he questions Stump with-
     out guile or anger, as if his answer is obvious.
<b>                            COBB
</b>              But neither am I.

     Cobb stares at Stump, waiting for an answer, and forgets
     about the road.
     Stump looks up in fear and points at the road.

<b>                            STUMP
</b>              Ty!

     Cobb swerves wildly back onto the road, such as it exists
     in the blizzard.
<b>                            COBB
</b>              I said I'm not ready to die.
<b>                            STUMP
</b>              Then watch the fucking road.

<b>                            COBB
</b>              But you're not listening to me! I
              may have every God damn disease
              known to man but I am never going
              to check into a hospital because I
              am alive and I am going to get
              laid in Reno!
<b>                            (MORE)
</b>
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                               51.
</b>
<b>62   CONTINUED:                                                      62
</b><b>                                COBB (CONT'D)
</b>                         (beat)
                  You're gonna get laid, too,
                  Stumpy!
<b>                                STUMP
</b>                  Maybe I don't wanta get laid!

<b>                                 COBB
</b>                  You queer?!

<b>                                 STUMP
</b>                  I'm married.
<b>                                COBB
</b>                  I thought you were divorced.

<b>                                STUMP
</b>                  We're in the middle of a...
                  problem. We're talking.
<b>                                COBB
</b>                  Talking my ass! Quit hanging on
                  -- get a divorce. Is that why you
                  don't wanta get laid in Reno?
                  'Cause you're feeling loyal to a
                  woman you're divorcing? That's
                  really stupid, Stumpy...

<b>                                STUMP
</b>                  I'm not getting a divorce.    I'm
                  being loyal.
<b>                                COBB
</b>                  Is that why you used to wine and
                  dine that little brunette who had
                  an office across the courtyard
                  from you in Santa Barbara?
     Stump is nailed.

<b>                                STUMP
</b>                  What do you know about her?!
<b>                                COBB
</b>                  I do my homework, Stumpy. I know
                  where the bodies are buried.
<b>                                STUMP
</b>                         (defensively)
                  It didn't last long!

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                              52.
</b>
<b>62   CONTINUED:    (2)                                              62
</b><b>                                  COBB
</b>                  Hey,   no need to defend yourself.
                  When   it comes to women I'm a total
                  shit   -- the difference is, Stumpy,
                  that   I know I'm a shit.

<b>                                STUMP
</b>                  Nobody knows about the brunette.
<b>                                COBB
</b>                  Our little secret, huh?
                         (beat)
                  And that part about me being a
                  shit with women? That ain't gonna
                  be in the book.

<b>                                STUMP
</b>                  I gotta put your family in my
                  book.
<b>                                COBB
</b>                  Your book?! My book! And nothing
                  about my ex-wives or children are
                  gonna be in it. My book is about
                  baseball!
<b>                                STUMP
</b>                  My book is about Cobb!

<b>                                COBB
</b>                  Cobb is baseball!
<b>     INTERCUT:
</b>
<b>63   EXT. HIGHWAY                                                   63
</b>     Suddenly something appears ahead on the roadside. Cobb
     doesn't see it. Stump does. It looks like a figure,
     huddled, wrapped, immobile in the swirling snow. It
     can't be...

<b>                                   STUMP
</b>                  Ty!    Look!   It's a man!

<b>     THEIR POV - FIGURE
</b>
     attempts to wave at the car. A nearly-frozen, desperate
     attempt to flag down the car.


<b>     BACK TO SCENE
</b><b>                                  COBB
</b>                  Fuck him...
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               53.
</b>
<b>63   CONTINUED:                                                      63
</b><b>                                  STUMP
</b>                  Stop the car!

     Cobb brakes -- the car spins to a stop some distance past
     the figure standing knee-deep in snow.

<b>                                COBB
</b>                  Whoever it is he's gotta be pretty
                  stupid to be out in this shit.
<b>                                STUMP
</b>                  We're out in this shit!
     And Stump climbs out of the car.

<b>                                                     CUT TO:
</b>

<b>64   EXT. SIDE OF ROAD (BLIZZARD) - DUSK                             64
</b>     Stump trudges back to the half-frozen figure who flails
     his arms stiffly at the apparition of a car in all this.
     The figure is wrapped in blankets, his head covered. We
     cannot see who it is until we are in his face.
<b>                                 FIGURE IN SNOW
</b>                  Help me.   Please help me.
<b>                                STUMP
</b>                  My God... it's you.     Are you okay?
     It is Willie, the black man who Cobb fired the day
     before.

<b>                                WILLIE (FIGURE IN SNOW)
</b>                  I can't believe you found me...

<b>                                STUMP
</b>                  Let me help you to the car.
<b>                                WILLIE
</b>                  I told you that you'd only last
                  one day with the bastard.
<b>                                STUMP
</b>                  Cobb's in the car. He's driving.

     Willie stops trudging toward the car.
<b>                                WILLIE
</b>                  Mr. Cobb's in the car?

<b>                                  STUMP
</b>                  Yeah...

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               54.
</b>
<b>64   CONTINUED:                                                      64
</b><b>                                WILLIE
</b>                  Then I'm not getting in the car
                  with that son of a bitch. I'd
                  rather take my chances out here.
<b>                                STUMP
</b>                  You're coming!

     And Stump drags Willie to the car, though the man is re-
     luctant the whole way, he is in no condition to resist.

<b>                                WILLIE
</b>                         (muttering the whole
                          way)
                  He hates me. He hates black
                  people...

<b>                                STUMP
</b>                  He fucking hates everybody. Don't
                  give him the pleasure of dying out
                  here.
<b>                                WILLIE
</b>                  If dying out here gives him
                  pleasure then I won't die out
                  here.
     They get to the car -- Stump opens the back door to help
     the nearly-frozen man into the car. Cobb grumbles.
<b>                                STUMP
</b>                  Ty, it's Willie. We can give him
                  a lift to town.

<b>                                COBB
</b>                  Bullshit! I ain't givin' no
                  nigger a ride nowhere!

<b>                                                     CUT TO:
</b>
<b>65   INT. STUMP'S CAR - DUSK                                         65
</b>     And Stump loses it -- he grabs Cobb's pistol off the seat
     of the car and aims it right at Cobb's head.

<b>                                STUMP
</b>                  Shut the fuck up and give him a
                  ride!

<b>                                COBB
</b>                  Now who's the coward! You won't
                  shoot me! You need me!
     Stump hands the gun to Willie.....
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              55.
</b>
<b>65   CONTINUED:                                                     65
</b><b>                                STUMP
</b>                  No. But I'm sure Willie would
                  take great pleasure in it.
     Willie climbs into the back seat with the gun.       Cobb is
     livid.

<b>                                COBB
</b>                  You'll pay for this, Stumpy...
<b>                                STUMP
</b>                  Say, Willie, you a baseball fan?
<b>                               WILLIE
</b>                  Yessir...

<b>                                STUMP
</b>                  Who's the greatest ballplayer of
                  all time, in your opinion?
<b>                                WILLIE
</b>                  Willie Mays, no doubt about it.
<b>                                COBB
</b>                  That nigger couldn't hold my jock!
<b>                                STUMP
</b>                  Excuse me, Mr. Cobb, the man is
                  speaking...


<b>66   NEW ANGLE                                                      66
</b>     And Cobb jumps on the gas -- the car races off, back down
     the mountain, fishtailing as it goes.
<b>                                WILLIE
</b>                  And I'd say the second greatest
                  player of all time is Jackie
                  Robinson... or maybe Josh
                  Gibson...

<b>                               COBB
</b>                  Shut up!!

<b>                                WILLIE
</b>                  And of course, the greatest base
                  runner of all time isn't riding in
                  this car -- the fastest baseball
                  player of all time was Cool Papa
                  Bell -- Cool Papa would've easily
                  broke all your stolen base
                  records --
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              56.
</b>
<b>66   CONTINUED:                                                     66
</b><b>                                 COBB
</b>                  Noooooo!

<b>                                  WILLIE
</b>                  Cool Papa   was so fast that when he
                  entered a   hotel room and flipped
                  the light   switch off, he'd be
                  asleep in   bed before it got
                  dark...
<b>                                STUMP
</b>                  And then there's Satchel Paige...
<b>                                WILLIE
</b>                  Oh yeah, Satchel Paige could throw
                  a porkchop past a wolf, Mr. Cobb,
                  ol' Satchel woulda had you eatin'
                  outta his hand, he woulda had you
                  hittin' .220 and kissin' his black
                  ass to boot...
<b>                                COBB
</b>                  Shut this man up!

<b>                                WILLIE
</b>                  The man with the gun does the
                  talking, you wretched, old
                  prick...


<b>67   LONG SHOT - CAR                                                67
</b>     racing down the highway in the snow, and we go      out
     hearing Willie recount the greatest ballplayers      of all
     time -- all of them black -- as Cobb seethes, a      gun to
     his head. Stump feeds Willie, watching Cobb's       racism
     simmer.

     Into the storm the car disappears -- fishtailing down the
     mountain.

     The blizzard grows thicker, the flurries taking over the
     mountain, until all we see is --
     The thick snow falling from the dark sky.      Suddenly --

<b>                                 STUMP
</b>                  Ice!   Slow down! Tyyyy!

<b>68   POV - STEEP DOWNGRADE                                          68
</b>
     as slick as a bobsled run.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                             57.
</b>
<b>68   CONTINUED:                                                    68
</b><b>     CLOSE ON STUMP
</b>
     Terror.

<b>     CLOSE ON WILLIE
</b>
     Terror.   He lowers the gun and hangs on for dear life.

<b>     CLOSE ON COBB
</b>
     He accelerates with vengeance.

<b>69   CAR                                                           69
</b>
     wobbles and starts spinning -- out of control, then
     spinning continuous 360s down the grade.


<b>70   CLOSE ON THREE MEN                                            70
</b>     The world spins around them as they cling for their
     lives. Until:
     THUD -- the car slams into a bank of snow.      Suddenly,
     silence.

     The three men sit without speaking for several beats,
     slowly acknowledging that they have survived. Finally:
<b>                             COBB
</b>               Fucked up roads. They don't build
               highways like they used to.


<b>71   POV - HOTEL SIGN IN DISTANCE                                  71
</b>     glows a welcome sign in the night.    It is no longer
     snowing.

<b>     BACK TO SCENE
</b>
<b>                                WILLIE
</b>                  Well, Mr. Cobb, thank you for a
                  lift into town...
     Willie hands the gun to Stump and climbs out of the car,
     bidding farewell to Stump as he does.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                            58.
</b>
<b>71   CONTINUED:                                                   71
</b><b>                                WILLIE
</b>                  And you, sir, should leave this
                  disgusting, wretched, sorry son of
                  a bitch immediately. Good
                  evening.

     Willie tips his hat and trudges to the neon glow in the
     distance. Cobb and Stump alone in the car.
     They both look out -- the car is buried, hood deep, in
     the bank of snow.

<b>                                                  CUT TO:
</b>
<b>72   EXT. EDGE OF RENO - NIGHT                                    72
</b>
     Under the famous arch that reads: "The Biggest Little
     City in the World," a tow truck pulls Stump's car into
     town, and up to:

<b>     EXT. LAST CHANCE HOTEL - NIGHT
</b>
     The truck stops -- Stump helps Cobb out and into the old
     style building adjacent to the gaudier casinos.
<b>                                                  CUT TO:
</b>

<b>73   INT. LAST CHANCE HOTEL - NIGHT                               73
</b>     Stump helps Cobb to the registration desk in a clean, but
     very modest old hotel.
     A WOMAN, 30s, stands at the counter in the middle of some
     dispute with the clerk. She wears a long, cheap, plain-
     cloth overcoat and galoshes.
     Stump bursts in, oblivious to the conversation in
     progress.

<b>                                STUMP
</b>                  Two rooms, please...

     The woman turns to confront the two men.     Now we see her.
     On a fabulous platinum-blonde wig is stuck    a yellow
     slicker-type rain hat. The ear flaps are     awry, the
     platinum-blonde wig curls up around it --    the effect is
     thrilling.

<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                             59.
</b>
<b>73   CONTINUED:                                                    73
</b><b>                                WOMAN IN WIG
</b>                  Stand back, you old farts. I'm
                  in the middle of something --
                         (back to clerk)
                  The heat's on the blink and
                  the mattress is lumpy -- I
                  want a discount.

<b>                                CLERK
</b>                  Aw, c'mon, you always want a
                  discount, Mona.

<b>                                RAMONA (WOMAN)
</b>                  Ra-mona... and the mattress
                  is always lumpy --

     Cobb pulls out a bottle of pills and washes a handful
     down with a deep swig from a pint bottle of whiskey.
     The Clerk looks on with alarm.
<b>                                STUMP
</b>                  Excuse me, I've gotta get him
                  checked in. He's very sick.

<b>                                RAMONA
</b>                  We're all sick in the eyes of God
                  -- but some of us still have
                  manners.

     She whirls and leaves the lobby, leaving the three men.
<b>                                STUMP
</b>                  Two rooms, next to each other.

<b>                                                   CUT TO;
</b>

<b>74   INT. COBB'S ROOM - NIGHT                                      74
</b>     Stump helps Cobb shoot up with insulin -- The needle
     clumsily groping for a vein in the old man's arm.

<b>     CLOSE ON COBB
</b>
     His face looks terrible, drawn, drained.

     Cobb reaches into his pouch and pulls out a bundle of
     cash and security notes, tied neatly with a string.

<b>                                COBB
</b>                         (barely audible)
                  My money...
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                            60.
</b>
<b>74   CONTINUED:                                                   74
</b><b>                                STUMP
</b>                  Your money's okay, Ty, right
                  here...
<b>                                  COBB
</b>                  My gun...

<b>                                STUMP
</b>                  Your gun's okay, too... right
                  here...

     And Stump hands Cobb his beloved pistol, which Cobb
     takes with great affection and comfort.
     Stump helps Cobb into bed, covering him with a blanket.
     The gun and the money sit on the pillow next to his
     head.
     Cobb speaks with great pain just before he passes out
     from pain, drugs, and exhaustion.
<b>                                COBB
</b>                  We haven't missed the testimonial
                  dinner, have we?
<b>                                STUMP
</b>                  No we haven't missed the dinner...
<b>                                  COBB
</b>                  Good, good...
     Cobb manages a small, pained smile before drifting
     off into sleep. Stump turns off the light and exits.

<b>                                                  CUT TO:
</b>

<b>75   INT. STUMP'S ROOM NEXT DOOR - NIGHT                          75
</b>     Stump pours a glass of vodka, settles into a chair, and
     dials the phone. He swallows deeply of the drink, and
     waits.
<b>                                STUMP
</b>                         (on phone)
                  Hello? Happy Birthday! It's
                  your Daddy! Yeah!
                         (beat)
                  Your birthday was yesterday?!
                  No, it couldn't be!

     Stump quickly checks a calendar on the wall and realizes
     he's missed his son's birthday.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                            61.
</b>
<b>75   CONTINUED:                                                   75
</b><b>                                STUMP
</b>                         (on phone)
                  Omigod, what can I say? I feel
                  terrible -- no, it's not okay,
                  jeez... When I get off the road
                  we'll do something special -- a
                  late birthday, eh? Maybe you
                  can go to spring training or
                  something with me, eh? Yeah...
                         (beat)
                  Listen, is your mother there?
                         (beat)
                  I know she doesn't want to speak
                  to me, but I want to speak to her.
                         (waits for
                          answer)
                  Okay, okay -- I feel terrible
                  about the birthday... I'll call
                  you real soon. And tell your
                  mother I'm not drinking anymore.
                  Okay... 'bye, 'bye...
     Stump hangs up the phone -- Takes a deep breath,
     and...
     He pours another drink, and sits down to his typewriter.
<b>                               STUMP
</b>                  Fuck it...
     Stump is hunkered over his typewriter pounding away.       His
     VOICE OVER indicates what he is writing.
<b>                                STUMP (V.O.)
</b>                  I was a fool for thinking Cobb's
                  brilliance might be what I needed
                  at this moment of my life... Ty
                  Cobb was the last thing I needed.
                         (beat)
                  He was not misunderstood -- he was
                  understood perfectly well. He
                  hated blacks, he hated Jews, he
                  hated Catholics -- he hated
                  everything except himself and his
                  own view of the world...
                         (beat)
                  At times it seemed like he would
                  drop dead in front of me...
                         (beat)
                  ... and other times he seemed
                  indestructible...
<b>                                (MORE)
</b><b>                                                  (CONTINUED)
</b><b>
</b><b>                                                              62.
</b>
<b>75   CONTINUED:    (2)                                              75
</b><b>                                STUMP (V.O.) (CONT'D)
</b>                         (beat)
                  I was reluctant to view the great
                  Ty Cobb as a pathetic character,
                  lost in the past, paranoia, and
                  the shallow defense of 'his own
                  breeding'...

     We hear SOUNDS of the TYPEWRITER BANGING away as...
     We DRIFT OUT the window -- Leaving Stump to write all
     night, at first viewing through the window, then moving
     until we have a view of --

<b>76   EXT. VIEW OF RENO - NIGHT                                      76
</b>
     We hear the incessant BANGING OF the TYPEWRITER GRADUALLY
<b>     FADE AWAY...
</b><b>                                                     DISSOLVE TO:
</b>

<b>77   INT. STUMP'S ROOM AT HOTEL - DAY                               77
</b>     Stump asleep -- full sun shines in the window.       Noon.
     A BOTTLE CRASHES against the headboard jarring Stump to
     consciousness. He looks up to see:
     Cobb reading the pages in a rage.     He tears them as he
     does.
<b>                                COBB
</b>                  'Pathetic, paranoid, lost in the
                  past!' What is this shit?!

     Stump awakens slowly, disoriented, amidst a shattered
     bottle.
<b>                                STUMP
</b>                  Those are my notes!   You can't
                  look at my notes!
<b>                                COBB
</b>                  You're notes -- my life! You're
                  gonna betray me, you son of a
                  bitch!
<b>                                STUMP
</b>                  You want the truth?   I'm gonna
                  tell the truth!
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                            63.
</b>
<b>77   CONTINUED:                                                   77
</b><b>                                  COBB
</b>                  Whose truth?

<b>                                STUMP
</b>                  Mine, for crissakes, I'm the
                  writer!

<b>                                COBB
</b>                  But I'm the legend and legends are
                  not pathetic!

<b>                                STUMP
</b>                         (slightly defensive)
                  These are just notes...

<b>                                COBB
</b>                  Don't you understand anything
                  about 'greatness'?
<b>                                STUMP
</b>                  Maybe you should find another
                  writer.
<b>                                COBB
</b>                  There's not enough time left.
     This frank admission momentarily stops Stump.
<b>                                STUMP
</b>                  I'm entitled to my opinions --
<b>                                COBB
</b>                  Now that's pathetic. Who gives a
                  good God damn about the opinions
                  of Al Stump?! What people want to
                  know about is Ty Cobb! And they
                  don't want to know who he hates
                  'cause everybody hates somebody!
                  They don't wanta know if he had
                  two wives or ten! They don't wanta
                  know if he hit women or if they hit
                  him!
<b>                                STUMP
</b>                  You think they wanta know how
                  to steal second base?

<b>                                 COBB
</b>                  Yes!   Precisely!

<b>                                  STUMP
</b>                  Well I don't!
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                               64.
</b>
<b>77   CONTINUED:     (2)                                              77
</b><b>                                COBB
</b>                  Oh, oh, oh... I get it. You're
                  one of them college psychology
                  type guys. You wanta find the
                  missing piece to finish the puzzle
                  known as the Madman Cobb -- you
                  think you're the next Hemingway
                  but you're just a moderate success
                  in a moderate-sized pond.
<b>                                STUMP
</b>                  Fuck you, Cobb! I'm much more than
                  a moderate success!
<b>                                COBB
</b>                  That's it, now you're showing some
                  life. You want psychology? I'll
                  give you some fucking psychology!
<b>                                STUMP
</b>                         (cynically)
                  I'm all ears.
<b>                                COBB
</b>                  My father was a great man...
<b>                                                  DISSOLVE TO:
</b>

<b>78   EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT -          78
</b><b>     (B&W)
</b>     A horse shakes its head, attached to a buggy.     A man
     pats the horse and ties it to a tree.
<b>                                COBB (V.O.)
</b>                  My father told my mother he was
                  going out of town for the weekend
                  on business. But he didn't go.
                  He came back 'cause he thought she
                  was being unfaithful...

<b>79   INT. HOUSE - NIGHT (B&W)                                        79
</b>
     The woman preparing for bed.

<b>                                COBB (V.O.)
</b>                  I don't know why he thought it --
                  'cause my mother was a wonderful
                  woman -- but he thought it.
<b>
</b><b>                                                             65.
</b>
<b>80   EXT. HOUSE - NIGHT (B&W)                                      80
</b>     The father climbing up the trellis onto the balcony.

<b>                               COBB (V.O.)
</b>               My   father thought he would catch
               the   man who was trying to steal
               his   wife from him... catch him
               in   the act...

<b>81   FATHER (B&W)                                                  81
</b>
     pulls a gun as he nears the window.

<b>     INT. HOUSE - NIGHT (B&W)
</b>
     The woman hears noises on the balcony and leaps out
     of bed in terror.

<b>     CLOSE ON WOMAN (B&W)
</b>     She turns and looks toward the bed.   We don't see
     whatever she's looking at.


<b>     WOMAN'S POV (B&W)
</b>     The window.    It starts to open.
<b>                             COBB (V.O.)
</b>               My father had high standards...
               the highest. He believed in
               quality... he believed in
               education... he believed in God...
               he believed in me... he believed
               in my mother... But on that night
               he seemed like a prowler... and
               so --

<b>82   EXT. BALCONY - NIGHT (B&W)                                    82
</b>     A SHOTGUN BLAST takes out Cobb's father's stomach
     and he reels back onto the balcony. He rolls to his
     elbows and looks up.

<b>                             COBB (V.O.)
</b>               My mother killed my father...
               shot him in the belly...
                      (beat)
               And then blew his head clean
               off...
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              66.
</b>
<b>82   CONTINUED:                                                     82
</b>     A SECOND SHOTGUN BLAST takes his head off.

<b>                                                    CUT TO:
</b>
<b>83   INT. STUMP'S ROOM AT HOTEL - DAY                               83
</b>
     Cobb stands above Stump who is still in bed.
<b>                                COBB
</b>                  How's that? A pretty God damn
                  good piece of psychology, eh?
                  That what you're looking for?
                  The childhood incident that
                  explans me?!

     Cobb spits on the papers of Stump's text.
<b>                                COBB
</b>                  Well I was a prick before it
                  happened and a bigger prick after
                  it happened so stick that up your
                  Sigmund Freud ass!

     Silence.   Stump is shaken by this story.
<b>                                STUMP
</b>                  Your mother killed your father?

<b>                                COBB
</b>                  And you ain't printing it.
<b>                                 STUMP
</b>                  I have to.
<b>                                COBB
</b>                  Not if I say so. I don't think
                  you understand something -- I have
                  final editorial approval of the
                  book.

<b>                                  STUMP
</b>                  No, I do.    I always have it.
<b>                                COBB
</b>                  Did you read your contract?

<b>                                STUMP
</b>                  It's my standard contract. I just
                  signed. I would never have agreed
                  to this if you had final approval.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                             67.
</b>
<b>83   CONTINUED:                                                    83
</b>     Cobb calmly picks up the phone and hands it to Stump.

<b>                                COBB
</b>                  Call your agent.
     Stump quickly dials and gets an answer.

<b>                                STUMP
</b>                  Hello? Charlie? Al... I'm in
                  Reno... yeah... things are fine...
                         (beat)
                  Yeah, listen... I'm just checking...
                  did we give away final editorial
                  approval on this Cobb book?
                         (long beat of
                          disbelief)
                  We did? Cobb has it? Jesus...
     Stump listens long and hard -- his face sinks.
     Cobb smiles and hangs the phone back up for Stump who
     reaches for the bottle on the nightstand and pours
     himself a morning drink of vodka.

<b>                                COBB
</b>                  Well, you were pretty stupid to
                  give up approval, weren't ya?
<b>                                STUMP
</b>                  Fuck you, Cobb?
<b>                                COBB
</b>                  Fuck me? Why me?
                         (suddenly charming)
                  Why you mad at me? Your agent made
                  the deal, your lawyer, your
                  publisher, you didn't even read
                  the contract because you trusted
                  them! Who the hell ever trusted
                  a lawyer or an agent?! If I was
                  Al Stump, the guy I'd be pissed
                  off at would be Al Stump!
<b>                                STUMP
</b>                  Listen to me, you son of a bitch --
                  if you die before the book is
                  finished, I'll write the story I
                  want.
<b>                                COBB
</b>                  But I ain't dying first.

<b>                                STUMP
</b>                  I'll write slow.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                             68.
</b>
<b>83   CONTINUED:    (2)                                             83
</b><b>                                COBB
</b>                  I'll die slow.

     Cobb lights a big cigar -- and sets fire to Stump's
     pages. Both men watch them go up in smoke.

<b>                                COBB
</b>                  Now get dressed so we can go
                  find some women...
     Stump just stares back -- exhausted and overmatched.

<b>                                                   CUT TO:
</b>
<b>84   INT. HARRAH'S CLUB (RENO) - NIGHT                             84
</b>
     The main room -- Showtime.     In progress.
     LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house
     full of dinner tables.
<b>                      LOUIS PRIMA AND GROUP
</b>               'That old black magic has me in
                 its spell,
               That old black magic that you
                 weave so well..'
     Cobb and Stump at a table drinking and eating.
     A cigarette girl works the room at a nearby table.      She's
     all legs and fishnet stockings... and wig.
<b>                                COBB
</b>                  Look't that -- hundred bucks says
                  I get in her pants before dawn.

     The cigarette girl turns and we recognize her.
<b>                                STUMP
</b>                  My God -- it's Mona... Ra-mona...
                  We met her at the hotel...
     Ramona is a vision in this outfit as she approaches them.

<b>                                COBB
</b>                  I don't remember...
     Ramona arrives at their table.

<b>                                RAMONA
</b>                  Cigarettes, gentlemen? Cigars?
                  We stockpiled some Havanas before
                  Senor Castro did his little number.

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                              69.
</b>
<b>84   CONTINUED:                                                     84
</b><b>                                STUMP
</b>                  Coupla Monte Cristos, Ramona,
                  number twos.
<b>                                 RAMONA
</b>                  Have we met?

<b>                                STUMP
</b>                  At the hotel -- checking in.
<b>                                RAMONA
</b>                  Ohyeah, you were the asshole.
     Cobb is suddenly gallant, gentlemanly, even charming.

<b>                                COBB
</b>                  Excuse me, young lady, I must
                  apologize for the behavior of
                  my friend -- he has a crude side.
     Ramona delivers the cigars and collects the money.
     Stump is a bit chagrined and caught off guard by this
     Cobb.

<b>                                 RAMONA
</b>                  I accept.
<b>                                COBB
</b>                  Ramona... Spanish name... lovely...
                  it means 'moonlit garden of the
                  gods'...
<b>                                RAMONA
</b>                  Actually it's German and means
                  'wise protectoress' but thanks for
                  the thought...

<b>     INTERCUT WITH:
</b>
<b>     ONSTAGE
</b>
     Louis Prima takes the mike -- His number has finished to
     much applause from the drunken crowd.

<b>                                LOUIS PRIMA
</b>                  Ladies and gentlemen, thank you
                  very much, you're a great crowd
                  ... I have been informed that we
                  have a celebrity with us tonight
                  who is a legend, a man who truly
                  needs no introduction...
<b>                                (MORE)
</b><b>                                                     (CONTINUED)
</b><b>
</b><b>                                                            70.
</b>
<b>84   CONTINUED:    (2)                                            84
</b><b>                                LOUIS PRIMA (CONT'D)
</b>                         (beat)
                  ... so let's give a Harrah's
                  Casino warm welcome to the
                  greatest baseball player of all
                  time, the one and only Ty Cobb!

     The spotlight flies to Cobb who kisses Ramona's hand.
     Stump has been left out of the exchange, and mumbles.
<b>                                STUMP
</b>                  'Moonlit garden of the gods'?
     The audience stands to applaud Cobb -- Full and genuine.
     Cobb graciously waves to the crowd, bowing, basking.


<b>     BACK ONSTAGE - LOUIS PRIMA
</b>     motions to his band.
<b>                                LOUIS PRIMA
</b>                  And this one's for the Georgia
                  Peach!
     They break into "Sweet Georgia Brown."
<b>                                LOUIS PRIMA/KEELY SMITH
</b>                  No gal made has got a shade on
                     Sweet Georgia Brown,
                  Two left feet but oh so sweet is
                     Sweet Georgia Brown...
     Cobb breaks into a little dance with Ramona at the table,
     much to Stump's (and Ramona's) amazement. For a moment,
     at least, there is great footwork and lightness in his
     movement -- we get a glimpse of the great athlete he once
     was.
<b>                                LOUIS PRIMA
</b>                  The great Ty Cobb! C'mon up
                  here!
<b>                                STUMP
</b>                  They want you, Ty --

<b>                                COBB
</b>                  Of course they want me.
     And Cobb heads for the stage, walking better but not
     without effort, a walk enhanced by drugs and booze. As
     he does, Ramona turns to Stump.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                              71.
</b>
<b>84   CONTINUED:    (3)                                              84
</b><b>                                RAMONA
</b>                  Who's that?

<b>                                STUMP
</b>                  The greatest baseball player of
                  all time.

<b>                                RAMONA
</b>                  I don't know baseball from
                  shmaseball but I know a nice man
                  when I see one and I also know
                  it's time for my coffee break.
                  Hasta luego.
     And she's off with her trayful of tobacco to the cocktail
     lounge.


<b>     BACK ONSTAGE
</b>     As Cobb arrives...
<b>                                LOUIS PRIMA AND GROUP
</b>                         (singing)
                  Fellas, she can't get, are fellas,
                     she ain't met,
                  Georgia made her, Georgia claimed
                     her, Sweet Georgia Brown.

     Louis Prima welcomes Cobb to the mike to thunderous
     applause.
<b>                                LOUIS PRIMA
</b>                  My great pleasure, sir --
                         (shaking hands)
                  I've always wanted to ask you
                  something, Mr. Cobb, with all the
                  great ballplayers playing right
                  now -- how well do you think
                  you'd do against today's players?

<b>                                COBB
</b>                  Well, I figure against today's
                  pitchers I'd only hit about .275,
<b>                  .280...
</b>
<b>                                LOUIS PRIMA
</b>                  That's amazing, Mr. Cobb,
                  considering your lifetime average
                  is nearly a hundred points higher.
                  Why do you think you'd only hit
                  .275 against today's pitchers?
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                             72.
</b>
<b>84   CONTINUED:     (4)                                            84
</b><b>                                COBB
</b>                  Because I'm 72 fucking years old,
                  that's why, God damn it. Give me
                  that thing.
     Cobb grabs the mike and takes over.

<b>                                COBB
</b>                  First of all I wanta thank you
                  for that song, 'Sweet Georgia
                  Brown... it's a great song about
                  my home state and I appreciate
                  it...
                         (beat)
                  That song has become the theme
                  song for the Harlem
                  Globetrotters...
                         (as Prima nods with
                          a smile)
                  It's too bad such a fine song had
                  to be stole by a buncha niggers
                  playing a faggot game in their
                  underwear...

     Prima and his cohorts are aghast. They cling to the hope
     that this is some put-on, some joke. They force a small,
     unnatural laugh.
     Stump winces and leaves the room, heading for the bar.
<b>                                COBB
</b>                  'Course the Globetrotters are
                  owned by a Jew named Saperstein
                  so whadda you expect?
     A disaster.     Prima tries gamely to seize the mike back.

<b>                                LOUIS PRIMA
</b>                  Thank you very much. Another
                  round of applause for the Georgia
                  Peach, Ty Cobb!

<b>                                COBB
</b>                  I got the mike, Dago -- gimme a
                  God damn minute. Nobody's got
                  respect for their elders any
                  more.
     Cobb turns to the crowd which, even in it's drunken state,
     is appalled and in disbelief.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                             73.
</b>
<b>84   CONTINUED:    (5)                                             84
</b><b>                                COBB
</b>                  Now let me explain to you how to
                  hit a baseball. It's a lost art.
                  Ever since that half-nigger Ruth
                  started hitting home runs, the
                  skill, the art, and the science
                  have been lost.

     Cobb grabs a clarinet from a member of Prima's band.
<b>                                COBB
</b>                  Now, say this is a bat...

<b>     BACKSTAGE
</b>
     The CASINO MANAGERS and SECURITY FORCES are quickly
     gathering to figure out what to do.
<b>                                CASINO MANAGER
</b>                  Let's just haul him off --
<b>                                SECURITY OFFICER
</b>                  That's Ty Cobb! He'll fucking
                  kill me!
<b>                                COBB
</b>                  You see, the bat is like a wand,
                  a magic wand... it should be
                  caressed, held like a woman...
                  like a woman who's really in need
                  of a man...


<b>     OFFSTAGE
</b>     The Casino Manager winces and consults.

<b>                                CASINO MANAGER
</b>                  Oh God, here we go...

<b>                                COBB
</b>                  Hitting a baseball is really very
                  easy... you can't force it... you
                  can't overpower it... you go with
                  the pitch... you let the bat do
                  the work... it's all rhythm and
                  flow...
     And Cobb starts demonstrating hitting techniques to the
     bewildered audience and casino staff. He strikes that
     familiar, strange stance -- choked up on the bat, a split
     grip, the bat held parallel to the ground...
<b>                                                   CUT TO:
</b><b>
</b><b>                                                          74.
</b>
<b>85   INT. CASINO BAR - NIGHT                                    85
</b>     Stump sees Ramona at the bar, her cigarette/cigar tray on
     the bar. She's smoking and working her way through a
     tall drink. He approaches her.
<b>                               STUMP
</b>               Excuse me.

<b>                             RAMONA
</b>               You again? You could learn some
               manners from your friend.

<b>                             STUMP
</b>               I'll try harder.
                      (motions for
                       bartender)
               You're a beautiful woman.

<b>                               RAMON
</b>               It's the wig.
     Ramona pulls the wig off her head revealing a sea of
     bobby pins and hair pins tying her natural brown hair to
     her head. She sets the wig on the counter and scratches
     her natural scalp.
<b>                             RAMONA
</b>               The damn thing itches but it's
               good for tips. Give me a
               scratch, will ya?
     Stump scratches the back of her scalp, somewhat embar-
     rassed and somewhat aroused.
<b>                            RAMON
</b>               Turn you on? Hey, Harvey, another
               round. On him.

<b>                             STUMP
</b>               Vodka and grapefruit juice.
     Ramona slaps the wig back on her head. Slightly
     akilter. She doesn't care. Harvey delivers another
     round.
<b>                             STUMP
</b>               Your wig's crooked.

<b>                             RAMONA
</b>               Does it bother you?

<b>                             STUMP
</b>               No, no... I was just --
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                75.
</b>
<b>85   CONTINUED:                                                       85
</b><b>                                RAMONA
</b>                         (bored,
                          shrugging)
                  You wanta go to bed with me,
                  right?

     Stump is so taken aback that he doesn't know how to
     answer. Flustered, he looks around, then takes a deep
     hit on his drink. He is very unsure.
<b>                                STUMP
</b>                  You want money?
<b>                                RAMONA
</b>                  I'm not a whore! I don't screw
                  for money?! Jesus!

<b>                                STUMP
</b>                  I'm sorry. I didn't know.     I
                  mean I'm not good at this.
<b>                                RAMONA
</b>                  Just divorced, huh?

<b>                                  STUMP
</b>                  Not yet...
<b>                                RAMONA
</b>                  It's written all over ya.    Giant
                  letters right across the
                  forehead. D-I-V-O-R-C-E.     Ha!
                  Plain as day.
     Ramona lets out a loud, hearty laugh without inhibition.
<b>                                STUMP
</b>                  It's obvious, huh?

<b>                                RAMONA
</b>                  Obvious.
                         (beat)
                  So, if ya wanta pay me to screw,
                  I won't do it.
<b>                                  STUMP
</b>                  Then I won't.

<b>                                  RAMONA
</b>                  Screw or pay?

<b>                                  STUMP
</b>                  Whichever.
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                             76.
</b>
<b>85   CONTINUED:    (2)                                             85
</b><b>                                RAMONA
</b>                  So ya don't wanta screw?

<b>                                STUMP
</b>                  No, I do.

<b>                                RAMONA
</b>                  All this ambiguity -- I see why
                  she's divorcing ya.
     Stump, completely befuddled, lets down completely. He
     doesn't care about getting laid or drunk or anything for
     the moment, except having someone to talk to -- the some-
     one is Ramona.

<b>                                STUMP
</b>                  I don't know what I'm saying or
                  doing anymore... I'm trying to
                  speak my heart.
<b>                                RAMONA
</b>                  Oh God...
<b>                                STUMP
</b>                  I told my wife I wanted a
                  divorce. She said 'okay' -- then
                  I realized maybe I don't.
<b>                                RAMONA
</b>                  Then go back to her.
<b>                                STUMP
</b>                  No.

<b>                                RAMONA
</b>                  Then quit crying. You want a
                  divorce, you don't want a
                  divorce, you're asking marital
                  advice from a woman you're trying
                  to get in the sack -- Jeez
                  Louise!

<b>                                STUMP
</b>                  I'm not myself.

<b>                                RAMONA
</b>                  Who is?
     A sigh.   Stump is lost.    He motions to the bartender.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              77.
</b>
<b>85   CONTINUED:    (3)                                              85
</b><b>                                STUMP
</b>                  Another round, Harvey.
                         (back to Ramona)
                  This assignment has me befuddled.
                  I'm supposed to tell the world
                  that a monster is really a
                  prince. I'm supposed to lie.

<b>                                RAMONA
</b>                  You being paid?

<b>                               STUMP
</b>                  Very well.
<b>                                RAMONA
</b>                  Then it's not a lie. It's a job.
                  Quit agonizing -- take the money,
                  do what you gotta do, and get it
                  over with.
<b>                               STUMP
</b>                  I can't.
<b>                               RAMONA
</b>                  Then quit.
<b>                               STUMP
</b>                  No!

<b>                                RAMONA
</b>                  For godsakes why not?
     Stump has to think about this for a while.

<b>                                STUMP
</b>                  He knows greatness. I'm in the
                  presence of greatness. I want to
                  learn about greatness.
     She looks at him like he's crazy.

<b>                                RAMONA
</b>                  Greatness is overrated.
<b>                                STUMP
</b>                  Maybe you're right, maybe you're
                  right...
<b>                                RAMONA
</b>                  So what do you want?

     Stump drinks deeply -- his heart needs alcoholic
     reinforcement.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               78.
</b>
<b>85   CONTINUED:    (4)                                               85
</b><b>                                STUMP
</b>                  I want to be in someone's arms
                  tonight.
<b>                                RAMONA
</b>                  Oh that. Why do men have such a
                  hard time saying what they want?

<b>                                                     CUT TO:
</b>
<b>86   INT. STUMP'S HOTEL ROOM - NIGHT                                 86
</b>     Stump and Ramona stagger in drunkenly -- they are awkward
     and passionate.

     She grabs his vodka and takes a swig from the bottle.
<b>                                STUMP
</b>                  Wait, wait... don't drink too
                  much.
<b>                                RAMONA
</b>                  Ya think I won't be able to screw
                  if I'm too drunk?
<b>                                STUMP
</b>                  Well... yeah...

<b>                                RAMONA
</b>                  Screwed, stewed, and tattooed!
     She laughs a hearty laugh, letting it all out.

<b>                                STUMP
</b>                  C'mere... I want to hold you.

<b>                                RAMONA
</b>                  You're so thoughtful -- the
                  others are trying to get me
                  drunk and you're trying to keep
                  me sober.  You'd be good husband
                  material.
<b>                                STUMP
</b>                  Not so fast --

<b>                                RAMONA
</b>                  I didn't mean --

<b>                               STUMP
</b>                  Come here.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                            79.
</b>
<b>86   CONTINUED:                                                   86
</b>     They embrace -- and hold each other fully, doing nothing
     but holding on. Stump relaxes.

<b>                                RAMONA
</b>                  I'm not a whore.

<b>                                STUMP
</b>                  Shh, shh... I know, I know...
     A moment of quiet, simple bliss -- when:

     The door bursts open -- the LOCK SPLINTERS with a CRASH,
     and:
     Cobb bursts into the room -- Full of rage.

<b>                                COBB
</b>                  You two-timing bastard! You
                  God damn Judas Iscariot! You
                  stealing my girl! I'll kill
                  you!
<b>                                STUMP
</b>                  She's not 'your' girl!
     And Cobb lashes out at Stump -- Stump tries to block
     the blow, but Cobb is relentless, and Cobb hits him
     again.

     Stump falls backwards -- His head hits a corner of the
     table.
<b>                                RAMONA
</b>                  What're you doing?!
     And Cobb backhands Ramona across the face, knocking her
     down.

     Stump lies on the floor only half conscious. He grabs
     his head. Blood. The room swirls in front of him as --

     Cobb grabs Ramona, pulling his everpresent gun from his
     pocket as he does.
<b>                                COBB
</b>                  You're coming with me!

<b>                                RAMONA
</b>                  I don't want to!

     Cobb jams the pistol into her jaw.

<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                             80.
</b>
<b>86   CONTINUED:    (2)                                             86
</b><b>     STUMP'S POV
</b>
     A dizzying view of Cobb dragging the woman out of his
     room. And he passes out.
<b>                                                   CUT TO:
</b>

<b>87   INT. HOTEL - COBB'S ROOM - NIGHT                              87
</b>     Cobb throws Ramona to the floor and locks the door.     Her
     wig falls off.
     Cobb picks it up and stares at it.

<b>                                  COBB
</b>                  What's this?!
<b>                                  RAMONA
</b>                  My hair.
<b>                                COBB
</b>                  Put it back on.

     She does -- The wig sits at a funny angle.
<b>                                COBB
</b>                  That's better.

<b>                                RAMONA
</b>                  Who are you again?
<b>                                COBB
</b>                  I am the Georgia Peach. I have
                  4,191 base hits in 11,429 at-
                  bats, 920 stolen bases, 2,244
                  runs scored, and 92 batting
                  records...
                         (beat)
                  And I want you to undress.

<b>                                  RAMONA
</b>                  No.
     Cobb clicks the hammer of his gun with icy calm.

<b>                                RAMONA
</b>                  That don't scare me 'cause if you
                  kill me I'll be dead and you ain't
                  gonna screw a dead lady.

<b>                                  COBB
</b>                  I might.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                           81.
</b>
<b>87   CONTINUED:                                                  87
</b>     She stares at the madman.

<b>                                  RAMONA
</b>                  You're right.    You might.
<b>                                COBB
</b>                  Take your clothes off.

     Ramona removes her top -- her breasts are jammed into a
     classic 50's push-up bra.

<b>                                COBB
</b>                  You got big tits. I like big
                  tits.

<b>                                RAMONA
</b>                         (terrified)
                  They aren't so big. They're
                  average, actually -- but these
                  bras are great. Push 'em right up
                  there. I owe a lot to the bras
                  and wigs. A girl needs what she
                  needs --

<b>                                  COBB
</b>                  Shut up.    Take it off.
     She does.    And covers her breasts with her hands.

<b>                                  COBB
</b>                  Shy, huh?    Get on the bed.
     Ramona gets on the bed -- Cobb circles the bed
     continuously.
<b>                                COBB
</b>                  You're a beauty. Roll over.

     She rolls on her face, propping herself on her elbows.

<b>     CLOSE ON HER FACE
</b>     Terror and tears.

<b>                                RAMONA
</b>                  Mr. Cobb, I --
<b>                                  COBB
</b>                  Shut up.

<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                              82.
</b>
<b>87   CONTINUED:    (2)                                              87
</b><b>     CLOSE ON COBB
</b>
     His eyes are full of fury and lust.
<b>                                COBB
</b>                  What I coulda done with you in my
                  prime...

<b>                                RAMONA
</b>                  I'm sure you --

<b>                               COBB
</b>                  Shut up!
<b>                                RAMONA
</b>                  What do you want from me?!

<b>                               COBB
</b>                  Roll over.
     Terrified, she does.
<b>                                COBB
</b>                  I want you to do exactly what I
                  say...
<b>                               RAMONA
</b>                  No...

<b>                                                    CUT TO:
</b>
<b>88   INT. HALLWAY - VIEW OF STUMP'S ROOM - NIGHT                    88
</b>
     THROUGH the open door -- Stump rises to his feet, feels
     his head, and groggily staggers out. Blood on his hand.

     Stump feels his way past a couple doors, listening in,
     unsure which room is Cobb's until a booming voice --
<b>                               COBB (O.S.)
</b>                  Ramona!
     Stump hurries to Cobb's door and listens in to be sure.

<b>     INTERCUT WITH:
</b>
<b>89   INT. COBB'S ROOM - NIGHT                                       89
</b>
     Cobb stands above her with his gun and his money.

<b>                                COBB
</b>                  Exactly what I say...

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                83.
</b>
<b>89   CONTINUED:                                                       89
</b>     Cobb pulls a stack of bills from his bag.

<b>                                COBB
</b>                  A thousand dollars...
     He holds out the money for her.

<b>                                RAMONA
</b>                  Do what you gotta do and get it
                  over with, Mr. Cobb.

     Silence. Cobb takes a big, sloppy hit from a bottle,
     throwing in a few pills for good measure.
<b>                                COBB
</b>                  I want you to tell everyone you
                  meet that you fucked me and I was
                  the best fuck you ever had.
<b>                                  RAMONA
</b>                  That's all?
<b>                                  COBB
</b>                  That's a lot.
<b>                                RAMONA
</b>                  For a thousand bucks?    Hell yes.
     He reaches out and straightens her wig which is pretty
     crooked by now. She lets him. Then he falls apart, vio-
     lently grabbing his crotch.
<b>                                COBB
</b>                  I'm looking at the most beautiful
                  woman in the world, do you hear
                  me?!

     Cobb grabs his crotch with the violence he does
     everything.
<b>                                COBB
</b>                  And I'm dead down here! Dead!
                  Nothing! And it's been like that
                  for over two years! Nothing! Now
                  get outta here before I hit you!

     Cobb lashes out at Ramona -- a vicious right hand.         She
     ducks as his fist slams through the headboard.
<b>                                RAMONA
</b>                  Georgia Peach my ass -- Georgia
                  trash is what you are!
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               84.
</b>
<b>89   CONTINUED:    (2)                                               89
</b>     Ramona grabs her clothes and runs from the room, past
     Stump who has heard it all. He enters Cobb's room.

     Cobb sits at the foot of the bed, thoroughly flustered.
     Stump helps him into his bed where he curls up with his
     money and his gun, barely conscious.

<b>                                COBB
</b>                  She was a great piece of ass,
                  Stumpy, best I ever had...

<b>                                  STUMP
</b>                  Good, good...
<b>                                COBB
</b>                  Have we missed the Testimonial
                  Dinner?
<b>                                STUMP
</b>                  No we haven't, Ty... now get some
                  sleep...
     Stump tucks Cobb in his bed as the old man drifts into
     sleep, turns off the light, and heads back to his own room.


<b>     CLOSE ON COBB
</b>     asleep. Even in sleep, dying, he is twitching and full
     of fragments of unspent energy.
<b>                                STUMP (V.O.)
</b>                  He slept for days. I thought he
                  was gone for sure. But even in
                  sleep he was restless and in
                  motion, a fire always burning in
                  his belly...

<b>                                                     CUT TO:
</b>
<b>90   INT. HOTEL - STUMP'S ROOM - DAY                                 90
</b>     Stump at the typewriter, pounding away without
     interruption.

<b>                                STUMP (V.O.)
</b>                  By this time I was working on two
                  manuscripts -- one was his
                  version, My Life In Baseball --
                  which for better or worse was a
                  history of how to steal second
                  base or how to hit the breaking
                  ball to the opposite field.
<b>                                (MORE)
</b><b>                                                   (CONTINUED)
</b><b>
</b><b>                                                           85.
</b>
<b>90   CONTINUED:                                                  90
</b><b>                                STUMP (V.O.) (CONT'D)
</b>                  It contained nothing about his
                  parents, much less the death of
                  his father at the hands of his
                  mother...

<b>     INTERCUT WITH:
</b>
<b>91   INT. COBB'S ROOM - DAY                                      91
</b>
     Cobb tossing and turning in his sleep, squeezing a pillow
     or blanket in a death grip.
<b>                                STUMP (V.O.)
</b>                  ... It contained nothing about
                  his children and ex-wives, none
                  of whom would even speak to
                  him...
                         (beat)
                  It contained no insights from his
                  friends because I couldn't find
                  any.

<b>     INTERCUT WITH:
</b>
<b>92   INT. STUMP'S ROOM - CLOSE ON TYPEWRITER - NIGHT             92
</b>
     Pages of the baseball book in progress next to a neatly-
     stacked manuscript in progress.
<b>                                STUMP (V.O.)
</b>                  It was a baseball book and I kept
                  it in the typewriter for him to
                  discover and amend...
                         (beat)
                  It was a book I never planned to
                  publish.
     Stump sits on his bed smoking his pipe and writing in
     longhand on pieces of paper of all sizes.
<b>                                STUMP (V.O.)
</b>                  The second version, my version,
                  was written on legal pads and
                  hotel stationery and cocktail
                  napkins and anything I could
                  scrape together without drawing
                  his attention...
                         (beat)
                  I kept my version in a box at the
                  bottom of my suitcase --
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                86.
</b>
<b>92   CONTINUED:                                                       92
</b>     Stump packs "his" version into a box, hiding it deep in
     his suitcase.

<b>                                STUMP (V.O.)
</b>                  The whole thing had become an
                  agonizing death watch, and most
                  days I couldn't believe the son of
                  a bitch wouldn't die...
     The door flies open and Cobb bursts in -- full of vim and
     vigor, a fresh set of clothes on, fire in his eyes.

<b>                                COBB
</b>                  Nothing like a cigarette girl and
                  thirty hours of sleep to
                  invigorate a man, Stumpy! You
                  look like shit.
<b>                                STUMP
</b>                  Been writing, Ty...
     Cobb goes straight for the typewriter and yanks out a
     page, grabbing the stack of typed pages as well.

<b>                                COBB
</b>                  Well let's see how we're doing...
     Cobb reads the pages with utter seriousness.       Stump
     watches.
<b>                                COBB
</b>                  Yes, God damn it, Stumpy, yes!
                  Now you're getting it! None of
                  this Sigmund Freud bullshit!
                  Baseball, Stumpy, baseball! Yes!
     Cobb rushes to Stump and embraces him, almost like a
     child. His eyes are wet with tears.
<b>                                COBB
</b>                  You understand! People are no
                  damn good but you're different!
                  You're okay, Stumpy, you get it!
                         (beat)
                  And I can trust you...

     Stump stares back.    And nods.
<b>                                COBB
</b>                  Now let's go roll us some dice,
                  Alimony, I feel a hot hand coming
                  on!
<b>                                                     CUT TO:
</b><b>
</b><b>                                                             87.
</b>
<b>93   INT. CASINO - NIGHT                                           93
</b>     Cobb and Stump approach the gaming tables and as they do,
     Cobb is recognized and approached for autographs. He
     signs as he walks, suddenly gracious in this moment.
<b>                                COBB
</b>               Y'see how it    works, Stumpy... they
               boo ya your    whole career, then
               when you're    about to kiss off,
               they put ya    on a pedestal. That's
               what being a    legend's all about.

     Arriving at a craps table, Cobb barges right in.
<b>                             COBB
</b>               Send the dice to the Peach, boys,
               and belly up to the bar...

     The croupier pushes the dice to Cobb who places a bet, as
     do the others.
     Cobb rolls the dice -- but he sees something.     Somebody.
<b>                             COBB
</b>               Stumpy, what is that?!


<b>     POV - RAMONA AND WILLIE
</b>     are rolling dice at a nearby table. They appear
     friendly, not intimate, two among twelve.

<b>     BACK TO SCENE
</b>
<b>                             COBB
</b>               My girl went for the nigger?

<b>                             STUMP
</b>               I think they're just next to each
               other by accident.

<b>                              COBB
</b>               Mona!   You with that nigger!
     Cobb's voice silences the tables.    Ramona looks up.

<b>                               WILLIE
</b>               He's crazy.
<b>                               RAMONA
</b>               I know.

<b>                                COBB
</b>               Willie!     Is she with you?!

<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                              88.
</b>
<b>93   CONTINUED:                                                     93
</b>     Ramona seizes the moment and kisses Willie on the cheek,
     draping herself all around him as if they were close.
     The intention is strictly to get back at Cobb.
<b>                                RAMONA
</b>                  This is my man, Mr. Cobb, and he's
                  all man.

<b>                                COBB
</b>                  My girl with my nigger!

<b>                                STUMP
</b>                  She's not your girl and he's not
                  your --

     Cobb pulls his gun and tries to climb across the table.

<b>                                SECURITY OFFICER
</b>                  He's got a gun.
<b>                               RAMONA
</b>                  Mr. Cobb!
<b>                               WILLIE
</b>                  Get down!
     Cobb on the table with a gun as Stump and police officers
     scramble to grab his gun hand. Customers hit the deck.

<b>                                COBB
</b>                  What is the world coming to?!
     BLAM, BLAM, BLAM -- the gun is FIRED REPEATEDLY into the
     ceiling fixtures, into the mirrors above the tables.
     Cobb is wrestled to the table by several men, including
     Stump. And it takes all of them to escort the struggling
     Cobb out of the casino into the lobby.
<b>                                STUMP
</b>                         (to security men)
                  We're leaving, we're leaving!
                  There's no reason to press
                  charges!

<b>                                COBB
</b>                         (to everbody)
                  Do you know who I am?!
<b>                                SECURITY MAN
</b>                  You're a crazy old fool, that's
                  who you are!
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              89.
</b>
<b>93   CONTINUED:    (2)                                              93
</b><b>                                STUMP
</b>                  Back off, God damn it!   We're
                  leaving!
<b>                                COBB
</b>                  Where we going, Stumpy, I wanta
                  find us some more women!

     Stump hesitates, chaos swirls around them. Cobb is out
     of control, we hear threats of arrest -- when...

<b>                                STUMP
</b>                  Ty, Ty, Ty, calm down. It's time
                  for the testimonial dinner!

     This stops Cobb cold.    He's immediately sober.

<b>                                                    CUT TO:
</b>
<b>94   EXT. RENO ARCH - DAWN                                          94
</b>     Stump's car passes under the arch, heading out of town,
     and we go to voice over:
<b>                                STUMP (V.O.)
</b>                  Actually the testimonial dinner at
                  the Hall of Fame was still weeks
                  away, but it was the only thing
                  that got him calmed down enough to
                  get us out of town without getting
                  thrown in jail -- or getting
                  somebody killed.

<b>                                                    DISSOLVE TO:
</b>

<b>95   EXT. ROUTE 66 (ARIZONA) - DAY                                  95
</b>     The car takes Stump and Cobb eastward.

<b>                                STUMP (V.O.)
</b>                  And as we headed across country,
                  Cobb as usual was oblivious to the
                  chaos he'd left in his wake. In
                  fact he was buoyed with new
                  enthusiasm at the prospects of
                  seeing his cronies once again...

<b>96   INT. CAR ON HIGHWAY - DAY                                      96
</b>
     Cobb is in an upbeat mood. He's reading a map.       A tape
     recorder with hand mike sits between them.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              90.
</b>
<b>96   CONTINUED:                                                     96
</b><b>                                COBB
</b>                  Y'know something, Alimony, I
                  believe you're the best friend I
                  ever had.
<b>                                STUMP
</b>                  You're kidding.

<b>                                COBB
</b>                  Swear on a Bible, Stumpy -- I
                  feel I can trust you now.

<b>     CLOSE ON STUMP
</b>
     deeply alarmed by this confession.

<b>                                STUMP (V.O.)
</b>                  I was disturbed, to say the least,
                  that he felt we were friends --
                  but at least for the moment it
                  made things bearable.
                         (beat)
                  And he started talking -- the
                  world according to Ty Cobb...
     Cobb talks into a tape recorder sitting on his lap,
     enjoying the hand microphone.

<b>                                COBB
</b>                         (into recorder)
                  And then this fat ass named Babe
                  Ruth came into the league and damn
                  near destroyed the game of
                  baseball... We all thought he was
                  gonna eat and fuck his way outta
                  the league but he hung around for
                  a few years --
<b>                                STUMP
</b>                  'Hung around'? He was --
                         (quickly revising)
                  -- next to you -- the greatest
                  player of all time. He hit 714
                  home runs?!

<b>                                COBB
</b>                  Anybody can hit home runs. Now
                  excuse me, I got work to do...

<b>                                 STUMP
</b>                  Sorry, Ty --
     And Cobb resumes into the tape recorder.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                             91.
</b>
<b>96    CONTINUED:    (2)                                            96
</b><b>                                 COBB
</b>                   I didn't care that they cheered
                   and adored Ruth -- I cared that
                   they respected his ballplaying --
                   Christ, they built Yankee Stadium
                   for him with a 297-foot right
                   field line. My sister Florence
                   could hit the ball 297 feet!
<b>                                                   DISSOLVE TO:
</b>

<b>97    EXT. STADIUM - DAY (1920S) (B&W)                             97
</b>      Game in progress -- Detroit vs. New York.

      Cobb at the plate -- a pitch at his head knocks him down.
      Immediately, both benches clear in a major brawl.
<b>                                 COBB (V.O.)
</b>                   Whenever we got into a fight with
                   the New Yorkers, 24 of our guys
                   would fight 24 of their guys and
                   me and Ruth would take on each
                   other!
      As the benches clear -- Cobb races not at the pitcher but
      straight to right field where The Babe is charging in
      like a rhino straight for Cobb. Somewhere near second
      base the two giants collide in a thunderous smash,
      falling to the ground in a brawl, as 48 players slug it
      out in the b.g.
<b>                                                   DISSOLVE TO:
</b>

<b>98    EXT. ROUTE 66 (SOUTHWEST) - DUSK                             98
</b>
      The car races into the sunset, Cobb babbling on...
<b>                                 STUMP (V.O.)
</b>                   During the day, we worked on his
                   version of the story. At night I
                   worked on mine...

<b>                                                   CUT TO:
</b>
<b>99    INT. CHEAP MOTEL (ROUTE 66) - NIGHT                          99
</b>

<b>100   STUMP                                                        100
</b>      alone in a room, is writing on pads of paper.

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                             92.
</b>
<b>100   CONTINUED:                                                   100
</b>      He pours another drink and lights a cigarette.

<b>                                 STUMP (V.O.)
</b>                   I was drinking like a fish,
                   smoking cigarettes again, and now
                   lying about the hidden
                   manuscript.
                          (beat)
                   And by writing two versions
                   without telling him, I was
                   becoming something Cobb was not.
                          (beat)
                   I was becoming a liar.
      An O.S. RUMBLE -- Stump quickly hides the manuscript as:

      Cobb thunders in with the typewritten version, the ver-
      sion written for Cobb's approval.
<b>                                 COBB
</b>                   Fabulous stuff, Stumpy, just
                   brilliant. You're a genius.
<b>                                   STUMP
</b>                   Thanks, Ty...
<b>                                 COBB
</b>                   I love reading about me.

      Cobb takes a swig of booze. Some routine outside noise
      drifts in, young people LAUGHING and CARRYING ON.
<b>                                 COBB
</b>                   Goddamn it, who's out there?
      Cobb hurries outside, drawing his pistol.

<b>                                                   CUT TO:
</b>
<b>101   EXT. MOTEL - NIGHT                                           101
</b>
      Cobb charges outside -- FIRING his PISTOL into the air.
      The manager and a security guard hurry over. Followed
      quickly by Stump, who's now an expert at this.

<b>                                 STUMP (V.O.)
</b>                   He shot up his share of motels
                   for all the usual reasons --
                   guests were too noisy, he
                   couldn't get any sleep, it didn't
                   matter -- he was always boiling
                   over...
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                93.
</b>
<b>101   CONTINUED:                                                      101
</b>      Stump leads Cobb back inside and calms the locals.

<b>                                 STUMP
</b>                   ... and I became expert at
                   keeping the peace wherever we
                   went...

<b>                                                      CUT TO:
</b>
<b>102   INT. SAME MOTEL - BATHROOM - CLOSE ON COBB'S VEINS -            102
</b><b>      NIGHT
</b>      as Stump helps him shoot up.

<b>                                 STUMP (V.O.)
</b>                   I also became expert at finding
                   his veins...
                          (beat)
                   Which always revived him...
<b>                                                      CUT TO:
</b>

<b>103   EXT. SOMEWHERE ON ROUTE 66 - DAY                                103
</b>      The car is parked by the side of the   highway. Cobb
      stands with the tape recorder next to   an endless plain of
      flat desert or rolling farmland. The    hood is up on the
      car, steam spills from the radiator.    And Cobb is dictat-
      ing like Marc Antony.
<b>                                 COBB
</b>                          (into recorder)
                   ... by the age of 25 I was a
                   millionaire, by the age of 30 a
                   multi-millionaire, by the age of
<b>                   35...
</b>      Stump wades up in the weeds to give Cobb his pills.

<b>                                                      CUT TO:
</b>
<b>104   EXT. HIGHWAY (PENNSYLVANIA) - DAY                               104
</b>

<b>105   INT. CAR - DAY                                                  105
</b>      Stump driving as Cobb babbles away into the tape
      recorder.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                94.
</b>
<b>105   CONTINUED:                                                      105
</b><b>                                 STUMP (V.O.)
</b>                   Somewhere along the way I'd gone
                   from biographer to stenographer
                   to chauffeur to nurse... I was
                   the only thing keeping the
                   bastard alive... and I kept
                   hoping he'd die.

<b>                                 COBB
</b>                   Y'know, Stumpy, with a friend
                   like you, I just might go on
                   forever...
      Cobb grabs the recorder mike and launches in again.

<b>                                 COBB
</b>                          (back into the
                           mike)
                   Where were we -- ohyeah -- then, at
                   the age of 42, I batted .323 which
                   was an embarrassment to me but
                   would be a career for anyone else...
<b>                                 STUMP (V.O.)
</b>                   Until, by the grace of God, we
                   arrived -- days, weeks, months
                   later, I don't know -- in
                   Cooperstown, New York, for his
                   beloved testimonial dinner...
<b>                                                      DISSOLVE TO:
</b>

<b>106   EXT. BASEBALL FIELD (COOPERSTOWN, NEW YORK) - DUSK              106
</b>      The ball field -- No game.    Nearby, a set of buildings.
      The Baseball Hall of Fame.    Stump's car pulls into town.

<b>                                                      CUT TO:
</b>
<b>107   EXT. ABNER DOUBLEDAY MOTEL (COOPERSTOWN) - DUSK                 107
</b>      A classic 50's motel.


<b>108   INT. MOTEL - DUSK                                               108
</b>      Stump and Cobb get dressed for the testimonial dinner. A
      black-tie affair, Stump has to help Cobb finish dressing.
      Cobb is full of boyish enthusiasm.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                95.
</b>
<b>108   CONTINUED:                                                      108
</b><b>                                 COBB
</b>                   You're gonna meet great athletes,
                   great warriors, great men at this
                   Hall of Fame dinner, Stumpy.
                   None of this modern, pansy
                   bullshit --

<b>                                 STUMP
</b>                   I've been looking forward to this
                   for a long time --

<b>                                 COBB
</b>                   You fucking liar. You've been
                   hoping I'd die first.

<b>                                 STUMP
</b>                   You got me wrong.
<b>                                 COBB
</b>                   I got you right. But it's okay
                   'cause I need your help.
      Stump squirms.      A KNOCK at the door.    Stump answers it.

      A beat-up 70-YEAR-OLD MAN stands there -- looking like a
      lost bum.
<b>                                 STUMP
</b>                   Can I help you?
<b>                                 MAN
</b>                   Cobb here?
<b>                                 STUMP
</b>                   Why?
<b>                                 MAN
</b>                   I'm Mickey Cochrane.
<b>                                  STUM
</b>                   Jesus.   Ty, it's Mickey Cochrane.

      Stump lets Cochrane in the door.     Ty stares at him.
<b>                                 COBB
</b>                   Where's your tux?

<b>                                 COCHRANE (MAN)
</b>                   I don't have one.

<b>                                 COBB
</b>                   I sent you money for it.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               96.
</b>
<b>108   CONTINUED:    (2)                                              108
</b><b>                                 COCHRANE
</b>                   It didn't arrive.

<b>                                 COBB
</b>                   You drank it, you mean. You
                   can't go to the Hall of Fame like
                   that. I won't allow it.

<b>                                 COCHRANE
</b>                   Things have been rough, Ty.

<b>                                 COBB
</b>                   There's two things a man should
                   never do -- complain or explain.
                          (beat)
                   Now go buy a God damn tux!

      Cobb peels some cash from his roll of dough and throws it
      at Cochrane.
<b>                                 COCHRANE
</b>                   The stores are closed.
<b>                                 COBB
</b>                          (exploding)
                   How could you be so good behind
                   the plate and so bad everywhere
                   else!

      Cobb grabs the phone and dials impatiently.
<b>                                 COBB
</b>                   Operator? What's the best men's
                   shop in town. Who owns it? Jack
                   who? Gimme his home number.
                   Better yet, ring him up for me.
                          (beat)
                   Jack?! This is Ty Cobb. Go down
                   to your shop and open it up and
                   sell a tux to the great Mickey
                   Cochrane. And sell him a
                   cumberbund and a shirt and a bow
                   tie and some God damn cologne.
                   He smells like shit. What's the
                   address?
                          (makes a note)
                   He'll be there in twenty minutes.
      Cobb thrusts the card into Cochrane's hand.

<b>                                 COBB
</b>                   God damn it, Mickey, ya gotta
                   give a better effort.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                97.
</b>
<b>108   CONTINUED:    (3)                                               108
</b><b>                                 COCHRANE
</b>                   Thanks, Ty.

      And Cochrane exits, leaving Cobb with Stump once again.
<b>                                 COBB
</b>                   He's lost, Stumpy, the poor man's
                   been lost ever since he took a
                   fastball in the ear.
<b>                                 STUMP
</b>                   You take care of him?
<b>                                 COBB
</b>                   For years -- but that ain't goin'
                   in the book.

<b>                                 STUMP
</b>                   Jesus, Ty, why not?
<b>                                 COBB
</b>                   Because it would embarrass him.
      Cobb winces as he tries to rise, almost falling.
<b>                                 COBB
</b>                   I don't wanta take the cane
                   tonight.

<b>                                 STUMP
</b>                   You've got to have your cane.
<b>                                 COBB
</b>                   I don't have to have anything --
                   if you stay near me... in case I
                   wobble or something... just a
                   firm hand right here...
                          (touches his own
                           lower back)
                   That'll keep me upright. I'd
                   appreciate it. Now how do I
                   look?
      Cobb poses in his tux -- proudly, unsurely.

<b>                                 STUMP
</b>                   You look like the greatest
                   ballplayer of all time. You
                   going to be okay?

<b>                                 COBB
</b>                   I'll be okay when I hear the
                   crowd.
<b>                                                      CUT TO:
</b><b>
</b><b>                                                             98.
</b>
<b>109   EXT. HALL OF FAME BUILDING - NIGHT                           109
</b>      A crowd of locals has gathered and is cheering as the
      great old warriors of baseball get out of one limo after
      another and pass a phalanx of security guards, television
      cameras, and photogaphers. A P.A. ANNOUNCER presents
      each one.

<b>                             P.A. ANNOUNCER
</b>               The great left-handed pitcher
               from the New York Giants, who
               struck out five men in a row in
               the 19-- All-Star game -- Carl
               Hubbell.
      Lanky Carl Hubbell, 50's, waves to the crowd and cameras
      as he enters to applause from the locals gathered.

<b>                             P.A. ANNOUNCER
</b>               The great third baseman from the
               Chicago Cubs, Harold Joseph 'Pie'
               Traynor...
      Pie Traynor, 60's, struggles to the entrance using a
      cane.

<b>                             P.A. ANNOUNCER
</b>               Paul and Lloyd Waner, the Waner
               brothers -- Big Poison and Little
               Poison -- from the Pittsburgh
               Pirates...
      The Waner Brothers, 60's, jauntily wave and enter.
<b>                             P.A. ANNOUNCER
</b>               Fifty-eight home runs in a
               season -- Mr. Double-X -- the
               great Jimmy Foxx!

      The barrel-chested Jimmy Foxx, 60, gets out and waves.
<b>                             P.A. ANNOUNCER
</b>               And ladies and gentlemen, the
               highest lifetime batting
               average of all time, first man
               elected to the Hall of Fame,
               retired with over 90 batting
               records, the one and only Georgia
               Peach, Ty Cobb!
      Cobb gets out, followed by Stump. Cobb walks into the
      building, past the cameras, utterly erect and upright,
      stretching his full six feet one inch. The applause is
      the most enthusiastic yet.
<b>                                                 (CONTINUED)
</b><b>
</b><b>                                                                 99.
</b>
<b>109   CONTINUED:                                                       109
</b><b>      CLOSE ON COBB'S FACE
</b>
      His concentration is intense, his focus is mesmerizing,
      full of pride and rage. He makes it to the door.
<b>                                 COBB
</b>                   Your hand, Stumpy, your hand!

      Stump slips his hand to Cobb's lower back just as they
      arrive at the door, and the two men enter together.

<b>                                 COBB
</b>                   Thank you, my friend...
      And Cobb is met by the Hall of Fame director, CHARLES,
      50, who shakes his hand and shows him in.

<b>                                 CHARLES
</b>                   Hello, Mr. Cobb, good to see you
                   again.
      And they head inside.
<b>                                                       CUT TO:
</b>

<b>110   INT. HALL OF FAME - BANQUET ROOM - NIGHT                         110
</b>      An orchestra is playing "Georgia On My Mind" as Cobb
      holds court at his table of honor. The great old players
      keep coming up to him, renewing old acquaintances.
      The first is WAHOO SAM CRAWFORD, 80's, a contemporary and
      at one time both teammate and adversary of young Cobb.
<b>                                 CRAWFORD
</b>                   Sam Crawford, Ty, Long time no
                   see.
<b>                                 COBB
</b>                   Good to see you, Sam.   You doin'
                   okay?
<b>                                 CRAWFORD
</b>                   I'm alive, Ty, I'm alive...

<b>                                 COBB
</b>                   The boys'll get together later
                   and have a little party, eh?

<b>                                 CRAWFORD
</b>                   Be some parties tonight, Peach...
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                              100.
</b>
<b>110   CONTINUED:                                                     110
</b>      ROGERS HORNSBY, 60's, moves in as Wahoo Sam Crawford
      moves on.

<b>                                 COBB
</b>                   Stumpy, meet Rogers Hornsby, next
                   to me the greatest hitter of all
                   time --

<b>                                  HORNSBY
</b>                   How d'ya do.   You're looking
                   good, Ty...

<b>                                 COBB
</b>                   I look like shit and you know it.
                   We'll have a real smoker later,
                   eh?

<b>                                 HORNSBY
</b>                   Ohyeah... we'll tear it up
                   good...
      The EMCEE raps a fork on a glass, bringing the dinner to
      order.

<b>                                 BASEBALL M.C.
</b>                   Welcome to Cooperstown, ladies
                   and gentlemen. We're here to
                   acknowledge the greatest
                   ballplayers of all time, those
                   men still gracing our presence
                   who were among the earliest
                   inductees into the Hall of Fame.
                          (beat)
                   Waner, Hubbell, Foxx, Cochrane,
                   Hornsby, Traynor -- these are the
                   giants, the Old Masters of our
                   craft...

      The spotlight moves around the room and each man waves,
      half rising from his chair.

<b>                                 BASEBALL M.C.
</b>                   But the greatest of all is with
                   us tonight -- simply put, the
                   best ballplayer ever -- Tyrus
                   Raymond Cobb.

      A spotlight hits Cobb, who rises and waves to the crowd
      as the lights dim.

<b>                                 BASEBALL M.C.
</b>                   We have gathered from the
                   archives some film on Mr. Cobb...
                   lights, please...

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                           101.
</b>
<b>110   CONTINUED:    (2)                                          110
</b>      The lights dim -- a giant screen is lowered, and the
      screen fills with old black and white footage of Cobb in
      action.

<b>111   FILM (B&W)                                                  111
</b>
      With the familiar voice of a NARRATOR.
<b>                                 FILM NARRATOR (V.O.)
</b>                   This rare footage of Ty Cobb
                   reflects his love of children,
                   and they admired him by the
                   thousands...


<b>      FILM - COBB (B&W)
</b>      posing with kids in uniforms. He clowns with them,
      tousling their hair, knocking off their caps.
<b>                                 FILM NARRATOR (V.O.)
</b>                   On another occasion he partakes
                   in a Donkey Baseball game,
                   showing his not-so-well-known
                   lighter side...


<b>      FILM - COBB (B&W)
</b>      on a donkey in a Donkey Baseball game.
<b>                                 FILM NARRATOR (V.O.)
</b>                   And here's Cobb with two other
                   immortals, Babe Ruth and Tris
                   Speaker...


<b>      FILM - COBB, RUTH AND SPEAKER (B&W)
</b>      pose on the dugout steps.

<b>                                 FILM NARRATOR (V.O.)
</b>                   Cobb and Speaker were great
                   friends off the field, and of
                   course were accused of fixing
                   some games by pitcher Dutch
                   Leonard...

<b>112   CLOSE ON COBB                                              112
</b>
      watching the film -- He can't believe what he's seeing
      and hearing.
<b>
</b><b>                                                            102.
</b>
<b>113   COBB'S POV - FILM (B&W)                                    113
</b>      Cobb and Speaker carousing with obvious gambler types.
      (NOTE: Cobb's POV of the film is subjective and dif-
      ferentiated from the film everyone else is seeing. We,
      the audience, see both versions.)
<b>                              FILM NARRATOR (V.O.)
</b>                Cobb and Speaker were clearly
                involved with unsavory gamblers,
                but finally were acquitted by
                Judge Landis, though many
                questions remain unanswered --

<b>114   COBB                                                         114
</b>
      leans over to Stump with grave concern.

<b>                              COBB
</b>                What the hell is this?!
<b>                              STUMP
</b>                It's a great film --
<b>                              COBB
</b>                Me and Speaker and the fix?
<b>                              STUMP
</b>                I think the medication's getting
                to you, Ty -- I'm watching you
                run the bases.

<b>115   STUMP'S POV (B&W)                                          115
</b>
      Cobb on the basepaths rounding second and heading for
      third where he slides, spikes high, safe.


<b>116   CLOSE ON COBB                                              116
</b>      Staring at the screen.

<b>                              FILM NARRATOR (V.O.)
</b>                Cobb's unique batting style led
                to an unprecedented 12 batting
                championships and a lifetime
                average of .367 which places him
                far above the field...

<b>117   FILM - COBB (B&W)                                          117
</b>
      at bat, demonstrating his unique stroke.
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                          103.
</b>
<b>117   CONTINUED:                                                 117
</b><b>                                 FILM NARRATOR (V.O.)
</b>                   His ruthless competitive
                   spirit has sometimes been
                   called psychopathic...

<b>118   COBB                                                       118
</b>
      turns to Stump again.    Something is wrong.
<b>                                 COBB
</b>                   Al, what are you seeing?
<b>                                 STUMP
</b>                   Your batting stroke.


<b>119   COBB'S POV - FILM - COBB IN UNIFORM (B&W)               119
</b>      climbs into the stands and starts attacking a heckler
      with his fists.
<b>                                 FILM NARRATOR (V.O.)
</b>                   In an infamous incident on August
                   xx, 19xx, Cobb attacked a heckler
                   who turned out to have no arms or
                   legs, and was briefly suspended
                   for the incident...

<b>120   COBB                                                       120
</b>      stands up next to Stump, who pulls him back down.
<b>                                 COBB
</b>                   Stumpy, what's going on?
<b>                                 STUMP
</b>                   Ty, I think you're not well
                   -- I'll take you back to the
                   motel.

<b>                                 COBB
</b>                   What're you seeing?
<b>                                 STUMP
</b>                   You and Connie Mack.

<b>121   FILM - COBB (B&W)                                       121
</b>
      in his A's uniform poses with Connie Mack.
<b>
</b><b>                                                              104.
</b>
<b>122   COBB                                                           122
</b>      settles back down and says nothing the rest of the film,
      though he continues to see different images.

<b>      CLOSE ON STUMP
</b>
      Enamored of the old footage.

<b>123   STUMP'S POV - FILM (B&W)                                   123
</b>
      Cobb running and sliding with abandon and disregard, a
      fabulous athlete.

<b>124   CLOSE ON COBB                                              124
</b>
      Silently watching, disturbed.

<b>125   COBB'S POV (B&W)                                           125
</b>      He strikes his wife and she falls to the floor.    He
      stands over her defiantly.
<b>                              FILM NARRATOR (V.O.)
</b>                Cobb and his friends were notorious
                for booze and sex parties they had
                in the off-season, parties they
                called 'Smokers,' which took place
                in various hunting cabins they
                would fill with hookers...


<b>      COBB'S POV - NAKED STRIPPER (B&W)
</b>      on a table gyrates to a room so thick with smoke that
      Cobb and his cronies are barely visible sitting around
      the room, a hooker on each lap, bottles of booze flowing.

<b>126   CLOSE ON COBB                                              126
</b>      He rubs his eyes.   What is this?


<b>      CLOSE ON COCHRANE, HORNSBY, WANER BROTHERS ET AL.
</b>      as they watch the same film Stump is watching.


<b>127   FILM - COBB (B&W)                                          127
</b>      rounds third and slides home in a spray of dirt.

<b>                                                (CONTINUED)
</b><b>
</b><b>                                                                105.
</b>
<b>127   CONTINUED:                                                       127
</b>      FREEZE FRAME as the Narrator wraps it up.

<b>                                 FILM NARRATOR (V.O.)
</b>                   And when he retired in 1929, Cobb
                   left behind 92 batting records and
                   a legacy of greatness that may
                   never be approached.

<b>128   CROWD                                                            128
</b>
      A standing ovation from the crowd as the lights come on.

<b>      CLOSE ON COBB
</b>
      He's still disoriented by the "film" he's seen, but the
      applause brings him back, and --
      The orchestra plays "Sweet Georgia Brown" to Cobb's
      raised arms.
<b>                                                      CUT TO:
</b>

<b>129   INT. LARGE LOCAL HOTEL - LATER THAT NIGHT                     129
</b>      Cobb and Stump move through the hallway.

<b>                                 COBB
</b>                   Crawford and Foxx have something
                   cooking in Room 212 --
<b>                                 STUMP
</b>                   Over here, Ty.
<b>                                 COBB
</b>                   I never partied with these boys
                   but they had a reputation.

<b>      ROOM 212
</b>      They knock.     JIMMY FOXX opens the door a crack.

<b>                                FOXX
</b>                   Ty.
<b>                                 COBB
</b>                   You got some booze?

<b>                                FOXX
</b>                   No.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               106.
</b>
<b>129   CONTINUED:                                                      129
</b><b>                                  COBB
</b>                   I do.
                          (beat)
                   Who's in there?
<b>                                 FOXX
</b>                   Me, Sam and Pie.

<b>                                 COBB
</b>                   Got any women in there?

<b>                                  FOXX
</b>                   Sure do.
      Cobb lights up.

<b>                                 COBB
</b>                   Me and Stumpy want some action.
<b>                                 FOXX
</b>                   Wanta meet some great broads?
<b>                                  COBB
</b>                   We're ready.
      And Jimmy Foxx opens the door letting in Cobb and Stump.
<b>                                                     CUT TO:
</b>

<b>130   INT. ROOM 212 - NIGHT                                        130
</b>      Wahoo Sam Crawford, PIE TRAYNOR, and Jimmy Foxx are sit-
      ting quietly in the room with their wives, each woman in
      her 60s.
      Cobb and Stump stand awkwardly.

<b>                                  CRAWFORD
</b>                   Hello, Ty.   You know my wife,
                   Lillian?

<b>                                 TRAYNOR
</b>                   And this is Mrs. Traynor.

<b>                                 FOXX
</b>                   Pearl, meet Ty Cobb and --
<b>                                  STUMP
</b>                   Al Stump.

      Silence.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              107.
</b>
<b>130   CONTINUED:                                                     130
</b><b>                                 COBB
</b>                          (meekly)
                   Hello, ladies.
      Foxx pulls Cobb aside and whispers discreetly.

<b>                                 FOXX
</b>                   Hornsby's got something on the
                   third floor -- maybe more what
                   you're looking for.

<b>                                                    CUT TO:
</b>
<b>131   INT. THIRD FLOOR HOTEL - NIGHT                              131
</b>
      Cobb and Stump hurry along looking for Hornsby's room.
      LOUD MUSIC and LAUGHTER spills out of the room at the end
      of the hall. We see a woman enter the room.
<b>                                  COBB
</b>                   There it is!

<b>                                 STUMP
</b>                   You sure you're up for this?
<b>                                 COBB
</b>                   I've never been readier!
      Cobb takes a hit on his flask and they knock at the door.
      Hornsby answers the door -- we can see a party behind
      him, full of old players, booze, cigars -- and even some
      women, though the whole thing is infinitely tamer than
      the smokers Cobb remembers.

<b>                                  COBB
</b>                   Rajah!
<b>                                 HORNSBY
</b>                   You ain't comin' in, Ty.
<b>                                  COBB
</b>                   It's me!   An' Stumpy here!

      Cobb starts pushing on the door.     Hornsby holds firm.
<b>                                 HORNSBY
</b>                   You're a bastard and you ain't
                   coming to our party.

<b>                                 COBB
</b>                   Who's in there?!

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              108.
</b>
<b>131   CONTINUED:                                                     131
</b><b>                                 HORNSBY
</b>                   Me and Mickey an' a coupla broads.

<b>                                 COBB
</b>                   Let me talk to Mickey.

      Hornsby signals to Cochrane who comes over to the door.

<b>                                COCHRANE
</b>                   Ty...

<b>                                 COBB
</b>                   Ya look good in that tux, Mick.
<b>                                 COCHRANE
</b>                   I can't let ya in, Ty. It's Rogers'
                   party. I'm an invited guest.
<b>                                 COBB
</b>                   God damn it, let me in!
      Cobb tries to break into the party but Hornsby rushes
      over and shoves the door in his face, leaving Ty and
      Stump alone.
<b>                                 COBB
</b>                   Presidents of the United States of
                   America used to invite me to the
                   White House to drink their Scotch
                   and smoke their cigars and fuck
                   their women.
<b>                                 STUMP
</b>                   Let's go to the motel, Ty...
      Cobb heads down the hallway pounding on every door --
      he's ready to explode.

<b>                                 COBB
</b>                   Let me in, God damn it! I
                   invented this game! Let me in!

<b>                                 STUMP
</b>                   Let's go home, Ty, this isn't a
                   good place to be...

<b>                                 COBB
</b>                          (screaming)
                   I fought for players' rights and
                   salary increases and unions while
                   all you crawled around on your
                   knees begging massa' for bread
                   crumbs just thankful for a job!
<b>                                 (MORE)
</b>
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               109.
</b>
<b>131   CONTINUED:    (2)                                            131
</b><b>                                   COBB (CONT'D)
</b>                   Open up,   God damn it! Ballplayers
                   can make   big money but they're too
                   stupid!    You're all too stupid!
                   The hell   with ya!

      Cobb grabs Stump and pulls his face close.

<b>                                 COBB
</b>                   Take me back to the Hall!

<b>                                                     CUT TO:
</b>
<b>132   EXT. HALL OF FAME BUILDING - LATE AT NIGHT                   132
</b>
      Charles, the Hall director, opens the door for Cobb and
      Stump. He clearly has been summoned in the middle of the
      night.
<b>                                 STUMP
</b>                   I appreciate your coming.
<b>                                 CHARLES
</b>                   For Mr. Cobb, no problem.
      Cobb is silent.     He and Stump enter.
<b>                                                     CUT TO:
</b>

<b>133   INT. HALL OF FAME - NIGHT                                    133
</b>      The director flips on a     couple lights -- the hall is
      partially lit. Charles      stays in the b.g., as -- Cobb
      leads Stump past all the     displays, various shrines and
      photos and old bats and     balls and records, until --

      A glass case full of Cobb's things -- his original
      Detroit Tiger uniform hangs there. Three of his famous
      "Black Betsy" bats, his glove, a couple balls, and his
      spikes.
      Cobb stands in front of the case just staring. Stump
      stands respectfully a few paces away. Cobb stares at his
      old uniform. Stump stares at Cobb.

      And Cobb starts crying, softly at first, then swelling
      until the muffled deep, convulsive sounds become more
      audible. He starts crying like a baby.

      Stump stands quietly nearby, afraid to move, until,
      finally:
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                110.
</b>
<b>133   CONTINUED:                                                       133
</b>      Cobb sucks up the tears and finally turns to Stump.

<b>                                 COBB
</b>                   What did you see on that film
                   tonight?

<b>                                 STUMP
</b>                   I saw Ty Cobb playing baseball.
<b>                                 COBB
</b>                   That's all?

<b>                                 STUMP
</b>                   That's all.

<b>                                 COBB
</b>                   I was raised in the Baptist Church
                   but I know that Heaven is just the
                   ol' oskefagus -- the change-up.
                   You swing from your ass 'cause you
                   think life is a fastball down the
                   middle and after your bat has
                   crossed the plate and you're all
                   off balance and looking stupid,
                   the ball just kinda flutters
                   across home, slow and juicy and
                   hittable, and as it crosses the
                   plate, the ball looks at you and
                   smiles a nasty smile and laughs
                   its way into the catcher's mitt...
                          (beat)
                   We don't just lose -- we're made
                   fools of.

<b>                                 STUMP
</b>                   You were the best.

<b>                                 COBB
</b>                   Save the romance for the book...
                          (beat)
                   ... and take me home to Georgia.

<b>                                                      CUT TO:
</b>
<b>134   EXT. SOUTHERN HIGHWAY - DAY                                   134
</b>
      A black limo crosses the landscape.

<b>135   INT. LIMO - DAY                                               135
</b>
      Cobb reads the typed manuscript next to Stump who just
      stares out the window at the passing landscape.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               111.
</b>
<b>135   CONTINUED:                                                      135
</b><b>                                 STUMP (V.O.)
</b>                   Cobb parted with some of his hard-
                   earned money and rented a limo in
                   order to make what he called a
                   'grand re-entrance to his beloved
                   home town of Royston...'

      Cobb marks the margin of the manuscript.
<b>                                 STUMP (V.O.)
</b>                   He loved the manuscript, as well
                   he should -- it made him out to be
                   a saint --
      Cobb looks up from the manuscript.

<b>                                 COBB
</b>                   Greatest biography ever written --
<b>                                 STUMP (V.O.)
</b>                   The book, like Cobb, was almost
                   finished. But he was dying slower
                   than I was writing, and like
                   everything else, he viewed it as a
                   competition that he was not going
                   to lose.


<b>      CLOSE ON COBB
</b>      Sweating, pale, hanging on.    A grim smile.
<b>                                 STUMP (V.O.)
</b>                   To me, we weren't riding to
                   Georgia in a limo...
                          (beat)
                   We were riding in a hearse...

<b>136   BLACK LIMO                                                      136
</b>
      heads into the deep South, past catfish restaurants,
      shanties, and Civil War battlegrounds.
      It looks like a hearse.

<b>                                                     CUT TO:
</b>
<b>137   EXT. HIGHWAY SIGN - DAY                                     137
</b>
              "WELCOME TO GEORGIA -- 'The Peach State'"
      The hearse rushes into Georgia.
<b>
</b><b>                                                             112.
</b>
<b>138   INT. HEARSE - CLOSE ON COBB - DAY                          138
</b>      staring out the window as the Georgia landscape
      passes.

<b>      CAR POV - OLD WOODEN SIGN
</b>
      Paint chipped and faded.

<b>                             COBB (O.S.)
</b>                We're here. And the fuckin' sign
                needs paint.

      The sign reads:    "WELCOME TO ROYSTON, GEORGIA
<b>                                "HOME OF TY COBB"
</b>
      A large painting of Cobb rounding third is still visible,
      though barely, as part of the sign.
      The limo passes.
<b>                                                   CUT TO:
</b>

<b>139   EXT. DOWNTOWN ROYSTON - DAY                                139
</b>      The limo moves slowly and ominously through the
      town.
      Old folks, black and white, sitting on chairs and
      benches in front of the stores, under awnings, stare
      at the strange sight of a limo cruising slowly.
<b>                              STUMP (V.O.)
</b>                It wasn't exactly the 'grand re-
                entrance to a home town' that he
                talked about...


<b>      CLOSE ON TWO OLD BLACK MEN
</b>      sitting under an awning. They point and discuss among
      themselves who this could be.

<b>140   INT. LIMO - DAY                                            140
</b>
      Cobb motions to the driver and to Stump.
<b>                              COBB
</b>                My sister lives down this way...
                Turn right here...

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                113.
</b>
<b>140   CONTINUED:                                                       140
</b><b>      POV - ROW OF OLD HOMES
</b>
<b>                                 COBB (O.S.)
</b>                          (slightly confused)
                   They look kinda the same...

<b>                                 STUMP (O.S.)
</b>                   When's the last time you saw her?
<b>                                 COBB
</b>                   About fifteen years ago.     But she
                   understands me...
                          (points)
                   There! No... damn....


<b>      BACK TO SCENE
</b>      The limo cruises slowly through a quiet neighborhood.
<b>                                 STUMP (O.S.)
</b>                   Maybe she moved.
<b>                                  COBB
</b>                   There!   I think...

<b>      POV - HOUSE
</b>
      like the others.

<b>      LIMO
</b>
      stops nearby.
<b>                                 STUMP
</b>                   I'll see if it's her.   Wait here.
      Stump gets out of the car and heads up the walk.

<b>                                                      CUT TO:
</b>
<b>141   EXT. HOUSE - DAY                                              141
</b>
      Stump knocks at the door -- the door opens -- a woman in
      her 60s appears. It is FLORENCE COBB XXXXX.
<b>                                 STUMP
</b>                   Good day, ma'am. I'm looking for
                   Florence Cobb --------.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               114.
</b>
<b>141   CONTINUED:                                                      141
</b><b>                                 FLORENCE
</b>                   That's me.

<b>                                 STUMP
</b>                   I have your brother in the car.

<b>                                 FLORENCE
</b>                   Tyrus?
<b>                                  STUMP
</b>                   Yes.   And he'd like to see you.

<b>      COBB'S POV FROM CAR - STUMP AND SOMEBODY
</b>
      He can't quite see who it is from his angle.


<b>      BACK TO SCENE
</b><b>                                 FLORENCE
</b>                   I don't wish to see him.
<b>                                 STUMP
</b>                   It's been a long time, he said.
                   He's not well.
<b>                                 FLORENCE
</b>                   I have nothing to say to him, and
                   wish to hear nothing he has to say
                   to me.
<b>                                 STUMP
</b>                   I know there's been problems, but
                   the family is very important to
                   him.

<b>                                 FLORENCE
</b>                   Young man, the family he talks
                   about never existed.

<b>                                 STUMP
</b>                   He loved his father.
<b>                                 FLORENCE
</b>                   If his father, if my father, was
                   such a great man, why did Tyrus
                   turn out to be so evil?
      Stump hesitates.      He doesn't have a ready answer.

<b>                                  STUMP
</b>                   He's dying.   He just wants to see
                   you.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               115.
</b>
<b>141   CONTINUED:    (2)                                            141
</b><b>                                FLORENCE
</b>                   No.

      And she politely closes the door in Stump's face. Stump
      turns, sees that the limo is at such a distance that Cobb
      couldn't possibly have seen, or heard, her. He returns
      to the limo.

<b>                                                     CUT TO:
</b>
<b>142   INT. LIMO - DAY                                              142
</b>      Stump climbs back in next to Cobb. He motions to the
      driver to head off -- the limo does.

<b>                                COBB
</b>                   Well?
<b>                                 STUMP
</b>                   It wasn't your sister. The woman
                   in the house said your sister moved
                   a long time ago... she doesn't know
                   where.
<b>                                 COBB
</b>                   You cocksucking liar. My sister
                   doesn't want to see me and you're
                   lying.
      And Stump, at last, goes off --
<b>                                 STUMP
</b>                   Liar?! A cocksucking liar?! Of
                   course I'm a liar! That's what
                   I'm paid to do, isn't it?! Lie
                   about Ty Cobb?!

<b>                                 COBB
</b>                   If you didn't like the job, why
                   didn't you quit?

<b>                                 STUMP
</b>                   Who would take care of you?

<b>                                 COBB
</b>                   Don't give me the sob-sister
                   routine.
<b>                                 STUMP
</b>                   I listen to your bullshit, I
                   interpret and shape and find words
                   for your bullshit and you give me
                   nothing but grief!

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              116.
</b>
<b>142   CONTINUED:                                                       142
</b><b>                                 COBB
</b>                   You love being this close to
                   greatness!
<b>                                   STUMP
</b>                   Stop the car!

      The car stops. Stump climbs out, searching for room
      and for air to breathe. The skies are overcast and
      dark.

<b>                                                    CUT TO:
</b>
<b>143   EXT. CAR BY ROADSIDE - DAY                                       143
</b>
      Stump walks away from the car and from Cobb.     Some wind
      blows, and the threat of rain.
<b>                                 STUMP
</b>                   I wish you'd die!
<b>                                 COBB
</b>                   I will, Stumpy, I will...
      Cobb is out of the car on his cane -- following Stump.
<b>                                 STUMP
</b>                   And go to hell!
      A line of lightning signals a storm in the distance.
<b>                                 COBB
</b>                   Oh, I'll do that, too.
                          (beat)
                   And look how convenient you've
                   made it.

      They look up -- The entrance to the Royston Cemetery.        A
      casually-maintained slope of several acres up a hill.

<b>                                 STUMP
</b>                   That was your sister alright, and
                   she didn't want anything to do
                   with you either!

<b>                                 COBB
</b>                   I forgive her.
      Stump walks into the cemetery to escape Cobb, who follows
      nonetheless with a cool resolution. Stump laughs at
      Cobb's comment.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              117.
</b>
<b>143   CONTINUED:                                                     143
</b><b>                                 STUMP
</b>                   You forgive her?! That's rich!

<b>                                 COBB
</b>                          (following along)
                   Forgiveness is crucial to human
                   maturity and religious growth.

<b>                                 STUMP
</b>                   Religious growth?!

<b>                                 COBB
</b>                   We all need to forgive more, Al...
                   you oughta try it. You're too
                   angry. You're all pent up.

<b>                                 STUMP
</b>                   I'm angry?
      Through the cemetery they keep walking, up a long hill
      full of tombstones and shrines and sprays of dead and
      dying flowers and gaudy plastic bouquets. Cobb following
      steadily along with his cane, several paces behind Stump.

      THUNDER shakes the ground.     And more lightning.
<b>                                 COBB
</b>                   Are you angry because I discovered
                   you were a whore? Is that it,
                   Alimony?
<b>                                 STUMP
</b>                   I'm angry?!

<b>                                 COBB
</b>                   Is it the divorce?    You gotta let
                   go of it...

<b>                                  STUMP
</b>                   I love her!   I don't want a
                   divorce!

<b>                                 COBB
</b>                   Sure ya do. You're just so used
                   to accommodating people that you
                   don't know what you want anymore.
                   I accommodate nobody.
      Stump whirls near the top of the hill to face Cobb who
      continues making his way along, slowly and surely.

<b>                                 STUMP
</b>                   But you have no friends!
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               118.
</b>
<b>143   CONTINUED:    (2)                                           143
</b><b>                                 COBB
</b>                   Do you? Who are they?! Those
                   drunken hacks you hang out with
                   who all think they're gonna write
                   the great American novel but all
                   they're gonna ever do is bitch and
                   moan and write lousy leads about
                   high school football games? How
                   about the brunette in the
                   courtyard? Is she your friend?
                   I heard she fucks everybody -- she
                   must be everybody's friend!
      A mausoleum looms behind Stump, bigger than anything in
      the cemetery, classical, outsized, monumental, even
      elegant. One simple word is above the door, carved in
      granite: COBB.
<b>                                 COBB
</b>                   I'm glad we're here -- I was gonna
                   bring you here anyway sooner or
                   later --
      Stump turns to see the mausoleum, and the word COBB.
<b>                                 STUMP
</b>                   Which Cobb of Georgia is that?
      Several beats as the men take it all in.      Finally:
<b>                                 COBB
</b>                          (with pride)
                   That is me.

      And rain suddenly falls from the skies, threatening to
      soak the two men.

      Cobb heads for the mausoleum -- Stump follows.
<b>                                                    CUT TO:
</b>

<b>144   INT. MAUSOLEUM - DAY                                        144
</b>      Just enough room for the two men to stand. On either
      side of them are two crypts, enough for four burial
      vaults. Cobb is very calm now, and lucid. Rain falls
      heavily outside.
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                                119.
</b>
<b>144   CONTINUED:                                                       144
</b><b>                                 COBB
</b>                   When I die, my mother and father
                   will be moved in here and, in time,
                   my dear sister, Florence will join
                   us as well.
                          (beat)
                   The family will be together again.

      Stump is still fuming, angry and cynical.
<b>                                 STUMP
</b>                   Under one roof? That's romantic!
                   You want that in the book? Ty
                   Cobb brings the family together at
                   last to enter the gates of Heaven
                   whole!

<b>                                 COBB
</b>                   You mock my family -- you mock me.
      Cobb grabs Stump by the throat and stares him in the
      eye.
<b>                                 COBB
</b>                   My father was a great man!
<b>                                 STUMP
</b>                   Then why are you such a bastard?

<b>                                 COBB
</b>                   Being a bastard is a small price
                   to pay for greatness. I, too,
                   am a great man.

<b>                                STUMP
</b>                   Let me go!

<b>                                 COBB
</b>                   My mother didn't kill my father.
<b>                                 STUMP
</b>                   What're you talking about?
      Cobb's fist clinches Stump's throat, forcing him to hear.
      Outside the mausoleum, RAIN pours down now, a Southern
      spring thunderstorm unleashing torrents.

<b>                                 COBB
</b>                   My father told my mother he was
                   leaving town for the weekend but
                   he came back to the edge of the
                   woods where he tied up his horse...
<b>                                                      CUT TO:
</b><b>
</b><b>                                                              120.
</b>
<b>145   EXT. MOONLIT ROAD THROUGH SOME WOODS - NIGHT (B&W)             145
</b>      A horse shakes its head, attached to a buggy.

      A man starts through the thinning woods.
<b>                              COBB (V.O.)
</b>                ... because my father thought my
                mother was being unfaithful to
                him...

<b>      POV SHOT - GABLED HOUSE (B&W)
</b>
      In the window a silhouette of the woman.   She turns.      A
      dress drops.

<b>                                                   CUT TO:
</b>

<b>      EXT. BALCONY ON HOUSE - NIGHT (B&W)
</b>      The man climbs over the railing and peers in the window.
      He pulls a pistol from his belt.
<b>                              COBB (V.O.)
</b>                ... he was going to catch my
                mother with another man...


<b>146   POV SHOT - WOMAN (B&W)                                         146
</b>      Young, thin, beautiful.   She turns and looks towards a
      bed we cannot see.
<b>                                                   CUT TO:
</b>

<b>      INT. BEDROOM - NIGHT (B&W)
</b>
      The woman whirls -- She hears a noise.   She ducks down.
      She reaches under the bed and pulls out a shotgun.
      She lifts the shotgun up awkwardly and without
      familiarity.
<b>                              COB (V.O.)
</b>                I stood by my mother when she was
                tried for murder a few months later.
                I said she was noble and true and
                loved my father completely and the
                whole thing was an accident and she
                was acquitted as she should have
                been...
<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                                 121.
</b>
<b>146   CONTINUED:                                                        146
</b>      His mother looks away at something.

<b>                                 COBB (V.O.)
</b>                   Because my mother did not kill
                   my father.

      His mother hands the shotgun to a naked man climbing
      from bed.
<b>                                 COBB (V.O.)
</b>                   My mother's lover killed my father.

      Cobb's father raises the winow -- KABLAM! The lover
      FIRES into his stomach. Cobb's father lurches onto
      his back.


<b>      CLOSE ON COBB'S FATHER (B&W)
</b>      on his back staring up at his mother's lover.
<b>                                 COBB (V.O.)
</b>                   The last thing my father saw was
                   the face of the man fucking his
                   wife!
      The lover unloads the second shell -- blowing his
      head off.

<b>      KABLAM!
</b><b>                                                      CUT TO:
</b>

<b>147   INT. MAUSOLEUM - DAY                                          147
</b>      The rain pours down on the cemetery. THUNDER.
      Lightning. Cobb still holds Stump by the throat.
<b>                                 COBB
</b>                   Well?! Is that what you want?!
                   'Cause that's all I know and the
                   only other people who know about
                   it are dead! But it ain't going
                   in the book, either, 'cause you're
                   the only friend I got left, and
                   you're the only man I can trust.
      Cobb lets Stump go, relaxing his grip and --

      Stump rages back outside into the rain.       Cobb stays
      dry in the doorway of the mausoleum.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                              122.
</b>
<b>147   CONTINUED:                                                     147
</b><b>                                 STUMP
</b>                   I don't want to be your friend!
                   I don't want to feel sorry for you!
                   So your mother's lover blew your
                   father's head off! I don't care.
                   You were a prick before it
                   happened, you were a prick after it
                   happened, you've been a prick ever
                   since, and you're a prick now!
      Cobb quietly takes a hit on his flask from the doorway
      of the mausoleum, watching Stump rant and rave in the
      rain.
<b>                                 COBB
</b>                   Public relations are overrated.

<b>                                 STUMP
</b>                   What the hell're you talking
                   about?
      Cobb holds out his flask for Stump.
<b>                                 COBB
</b>                   You need a drink.
<b>                                 STUMP
</b>                   Fuck the drink!

      Cobb motions for the limo to pull up the slope towards
      them.
<b>                                 COBB
</b>                   You're too angry, Al, you just
                   gotta learn to let it out.
      Stump stands in the rain screaming at Cobb who stands
      out of the rain, calm, centered, drinking, dying.
<b>                                 STUMP
</b>                   I'm gonna tell the truth about you,
                   Cobb! I'm gonna tell the world you
                   hate women, Jews, and niggers!
<b>                                 COBB
</b>                          (calmly)
                   You shouldn't use the word 'nigger',
                   Stumpy, it's racist and demeaning.
                   And I don't hate women -- I'm just
                   not very good with 'em, which puts
                   me in the same boat with you and
                   every other man I know.
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                123.
</b>
<b>147   CONTINUED:    (2)                                             147
</b><b>                                 STUMP
</b>                   You treat people like dirt!

      Cobb comes out into the rain toward Stump.
<b>                                 COBB
</b>                   The children of America need
                   heroes, Al, you know that...
      Cobb takes him by the arm and tries to lead him to the
      limo.

<b>                                 STUMP
</b>                   Get your hands off me!

<b>                                 COBB
</b>                   C'mon, Al...
                          (taking by the
                           arm)
                   You're making a fool of yourself
                   out here. It's not dignified...
                          (helpfully)
                   Come in out of the rain...

      And Cobb helps Stump into the limo, which pulls out of
      the cemetery still being drenched by rain.
<b>                                                      CUT TO:
</b>

<b>148   EXT. JEFFERSON DAVIS MOTEL - NIGHT                               148
</b>      The rain is thick -- Yet another motel, another neon
      sign, and the limo parked in front of one of the
      cabins.


<b>149   INT. MOTEL - NIGHT                                            149
</b>      Both men are sitting in rocking chairs in front of a
      fireplace. Stump is in a bathrobe, his feet in a big
      pan of warm water, a bottle of booze in his hand. He
      looks a mess. Cobb is idly playing with his pistol.
      He's calm, introspective.

<b>                                 COBB
</b>                   You're an educated man...
                   tell me what you think...
      Stump just sits there, drinking.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               124.
</b>
<b>149   CONTINUED:                                                      149
</b><b>                                 COBB
</b>                   Either my father was... inadequate
                   ... for my mother... he was not
                   the man I thought he was... not a
                   great man... not even a good man...
                          (beat)
                   ... or my mother was... trash...
                   a common whore...
                          (beat)
                   It's that simple, isn't it?

      Stump just shrugs and takes another hit.
<b>                                 COBB
</b>                   As a boy I stood in court next to
                   her because suddenly I was the man
                   of the house but as I stood there
                   steadfastly by her side and heard
                   the jury say 'not guilty' I knew
                   she'd been with another man the
                   night of the killing.
      Stump drinks deeply once again.

<b>                                 COBB
</b>                   A man must defend his mother at
                   all times, isn't that right, Al?
                   Or am I a fool?

<b>                                 STUMP
</b>                   A man must defend his mother
                   at all times.
<b>                                 COBB
</b>                   That's what I thought...
      And the two men sit there silently, rocking slightly,
      trying to stay warm, when there is --
      Suddenly a KNOCK at the door -- They stare at each
      other.

      Cobb puts down the gun, struggles to the door and answers
      it.

      A MAN stands in the rain, carrying a briefcase, trying
      vainly to keep dry.
<b>                                MAN WITH BRIEFCASE
</b>                   Al Stump?

<b>                                COBB
</b>                   In here.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                 125.
</b>
<b>149   CONTINUED:    (2)                                               149
</b>      Cobb lets the man inside -- points to Stump in the chair.

<b>                                   MAN WITH BRIEFCASE
</b>                   Mr. Al Stump?
      Stump nods as he swigs on the bottle.

<b>                                 MAN WITH BRIEFCASE
</b>                   I've been chasing you all over the
                   country --
                          (opens his
                           briefcase)
                   -- I'm here to serve you papers.
<b>                                   STUMP
</b>                   Papers?

<b>                                 COBB
</b>                   I'm afraid it's divorce, Stumpy.
                   I know this routine.
<b>                                 MAN WITH BRIEFCASE
</b>                   You're being sued for divorce.

<b>                                 STUMP
</b>                   But my wife and I are still
                   talking?!
<b>                                 COBB
</b>                   Yeah, and what she's saying is
                   'fuck you.'
<b>                                STUMP
</b>                   Fuck me? Well fuck her.     No,
                   fuck him.
      Stump reaches for the gun and aims it at the man.

<b>                                 STUMP
</b>                   You ain't serving me no papers.

      The Man is frozen with terror as Stump rises from the
      chair -- drunk and crazed, aiming the shaky gun.
<b>                                 MAN WITH BRIEFCASE
</b>                   I'm just doing a job.

<b>                                 STUMP
</b>                   I love my wife.

<b>                                 COBB
</b>                   We all loved our wives, Al, that's
                   got nothing to do with it.
<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                               126.
</b>
<b>149   CONTINUED:    (3)                                             149
</b><b>                                 MAN WITH BRIEFCASE
</b>                   You'll find somebody else.

<b>                                 COBB
</b>                   There's a million broads out
                   there, Stumpy -- put down the gun.

      KABLAM! Stump FIRES at the man but the shot goes wild.
      He's drunk, he's not experienced with guns, he's shaking.
<b>                                 STUMP
</b>                   I am not going to accommodate
                   this man, Tyrus.
<b>                                 COBB
</b>                   You're all mixed up.   Give me the
                   gun.
<b>                                 STUMP
</b>                   You're absolutely right, Tyrus,
                   I've been accommodating people
                   my whole life and it stops right
                   here.
                          (beat)
                   You've killed a man. I'll kill a
                   man.
      KABLAM!   KABLAM!   He misses again.

      The Man drops to his knees, begging for his life.
<b>                                MAN WITH BRIEFCASE
</b>                   No! Please, dear God! I have a
                   family, too!
<b>                                 STUMP
</b>                   Don't give me that sob-sister
                   stuff!
      Stump tries to hold the gun with two hands, approaching
      the man, to nearly point-blank range.

<b>                                 COBB
</b>                   Al... no... Al... Al...

      Stump looks crazed, a bathrobe falling open, his feet
      bare and wet, his hair awry from the rainstorm. He aims
      the gun at the man's head, looks at Cobb with wild glee.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               127.
</b>
<b>149   CONTINUED:    (4)                                             149
</b><b>                                 STUMP
</b>                   Life is too short to be
                   diplomatic. A man's friends don't
                   care what he says or does. You're
                   my friend, Ty, right? You're my
                   friend!

<b>                                 COBB
</b>                   No!
      Stump pulls the TRIGGER -- CLICK.     Empty.

      As the Man looks up, realizing he's alive, Stump strikes
      him across the face with the gun, drawing blood.

      The Man scrambles to his feet and races from the room,
      grabbing his briefcase, and running to the door.
<b>                                 MAN WITH BRIEFCASE
</b>                   You're crazy! No wonder she
                   wants to divorce you! You're
                   crazy!
      And the Man runs into the rainy night, leaving Cobb and
      Stump.
      Stump's head collapses in his hands -- Bewildered,
      exhausted. The two men sit alone for several beats
      before Stump speaks. He is completely lost.
<b>                                 STUMP
</b>                   I almost killed a man.
<b>                                 COBB
</b>                   A little drunken excess...
<b>                                 STUMP
</b>                   No. I put a gun to a man's head
                   and pulled the trigger. I wanted
                   to kill him.

<b>                                 COBB
</b>                   It's forgotten already. I saw
                   nothing. Nothing happened.

<b>                                 STUMP
</b>                   Yes it did.
<b>                                 COBB
</b>                   Al, listen to me.
<b>                                 (MORE)
</b>
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                              128.
</b>
<b>149   CONTINUED:    (5)                                            149
</b><b>                                 COBB (CONT'D)
</b>                   If I was hired to write a
                   biography of the greatest
                   sportswriter of our time -- a
                   biography of Al Stump -- would I
                   include what happened tonight?
                   Attorneys are pigs -- divorce
                   attorneys are lower than pigs.
                   What happened tonight was private.
                   An intimacy. Your own business.
                   Our own business. Nobody else's.
                   It wouldn't belong in a book about
                   greatness.
<b>                                 STUMP
</b>                   Nobody's gonna write my
                   biography.
<b>                                 COBB
</b>                   And when the brunette in the
                   courtyard brushed against you, I
                   know what happened, Al. A warm
                   summer breeze, the smell of
                   jasmine, her black hair against a
                   white blouse -- you came to life
                   again, you got hard -- and when
                   you saw her naked it was more
                   than you could bear... it's okay,
                   Al, it's okay...
                          (beat)
                   The brunette ain't gonna be in
                   the book either...
      Stump looks up at Cobb but says nothing. He picks up a
      nearly-empty bottle off the floor and takes a hit.
<b>                                 COBB
</b>                   And the drinking? Well, they
                   used to say ol' Ty had a drinking
                   problem but you can booze me
                   right under the table right
                   now... no problem... and nobody's
                   God damn business, either...
      Stump raises his hand, motioning Cobb to stop.

<b>                                 STUMP
</b>                   I get it... I get it...
      A moment.    A look.

<b>                                 COBB
</b>                   Then get some sleep.   You look
                   pathetic.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                           129.
</b>
<b>149   CONTINUED:   (6)                                            149
</b>      Stump crawls on the bed toward the pillows with the
      stupid grace of a drunk looking for a key under the mat.

      Cobb helps Stump lie down, pulling a blanket over him.
      Stump rolls over to go to sleep, Cobb tucks the blanket
      around him, and picks up the bottle from the pillow.

      Cobb takes a last hit of the bottle -- Finishing it off.
      He throws it to the ground, and looks around the room for
      another.

<b>      COBB'S POV - STUMP'S SUITCASE
</b>
      lies open on a chair.   A nearly-full bottle of Scotch is
      visible.


<b>      BACK TO SCENE
</b>      He makes it to the bottle -- Steadies himself -- he's ex-
      hausted. He takes a deep swig from the Scotch. Several
      deep gulps, enough to kill a horse, but it only helps him
      steady himself.
      And he sees something in the suitcase -- He looks down
      at --


<b>      COBB'S POV - CARDBOARD BOX
</b>      which Stump has been filling with his secret manuscript.


<b>      BACK TO SCENE
</b>
      Cobb opens the box and pulls out a paper.   He reads it.
      He looks at Stump, and --
      Cobb takes the box and the bottle to the chair by the
      fireplace, where he sits down, puts on his reading
      glasses, and starts reading "the real story."

<b>      CLOSE ON COBB
</b>
      He reads page one slowly and carefully, then starts mov-
      ing through the box full of odd sizes of paper, hotel
      stationery, cocktail napkins, legal pads, all handwritten
      in secret. He keeps glancing up at the bed where Stump
      is in the deep stupor of sleep.
<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                               130.
</b>
<b>149   CONTINUED:    (7)                                              149
</b><b>                                 COBB
</b>                          (reading to
                           himself)
                   ... 'vicious, pathological,
                   bubbling with violence... Cobb's
                   demons were not merely exorcized
                   on the baseball field... they
                   spilled over into all parts of
                   his miserable life...'
<b>                                                      DISSOLVE TO:
</b>
<b>150   SERIES OF IMAGES (B&W)                                         150
</b>
      from the text -- from Cobb's real life.

      A)   Cobb sharpens his spikes with a file.
      B)   Cobb steals second base and slides spikes high,
           drawing blood.
      C)   Cobb driving a fancy car with a pretty woman at his
           side.
      D)   Cobb beats a man to death in an alley.
      E)   Cobb onstage with a stripper at a smoker.

      F)   Cobb striking his wife and knocking her to the
           ground.
      G)   Cobb FIRING a GUN at Stump in the hunting lodge.

      H)   Cobb and Stump being turned away from the parties
           by Hornsby.

      I)   Cobb's father being blown away by the shotgun.
      J)   Cobb on third being booed -- More trash on the
           field. Police restrain the crowd. Cobb stands
           defiantly, waving the crowd away in a menacing
           gesture, fearlessly. The sounds of derisive booing
           build to a crescendo, and then...

<b>                                                      DISSOLVE TO:
</b>
<b>151   INT. MOTEL ROOM - NIGHT                                        151
</b>
      Cobb's eyes flare -- He's in a rage.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                              131.
</b>
<b>151   CONTINUED:                                                     151
</b>      He rises from the chair, his adrenaline has momentarily
      overwhelmed his system and he moves as a young man.

      Cobb picks up the pistol and reloads it.
      Cobb marches resolutely to the bed.

      Cobb aims the loaded gun at Stump's sleeping head.

<b>      CLOSE ON STUMP
</b>
      Oblivious in a drunken sleep.

<b>      CLOSE ON COBB
</b>
      Rage is in his eyes.       He cocks the gun.

<b>      CLOSE ON COBB
</b>      He's crying.    He shakes his head.

<b>                                 COBB
</b>                   You don't have a point of view,
                   Stumpy, you ain't worth
                   killing...

      Cobb puts the gun into his own mouth -- He clears his
      throat, as if to make room for the gun barrel. He gags
      slightly and closes his eyes, he thinks for the last
      time.


<b>      CLOSE ON HIS FACE
</b>
      Something's not right.
      Cobb removes the gun momentarily and looks at it.

      He sees that the gun barrel is covered with blood.
<b>                                   COBB
</b>                   Dear God...


<b>152   COBB                                                           152
</b>      rushes into the bathroom and faces the mirror.      Blood
      gushes from his mouth as he coughs again.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               132.
</b>
<b>152   CONTINUED:                                                      152
</b><b>      CLOSE ON COBB
</b>
      as he stares into the mirror.
<b>                                 COBB
</b>                   No... no... no... this can't
                   be... Absolutely not... This is
                   not right...
      Cobb coughs again -- More blood covers his chin. He
      touches his chin, touches the blood, smears it around a
      little, looks at his hands now covered with blood.
<b>                                 COBB
</b>                          (terrified)
                   Stumpy?! No...

      Cobb moves around the tiny bathroom like a caged animal.
      He falls to his knees in prayer in front of the sink.
<b>                                 COBB
</b>                   Our Father, which art in heaven,
                   hallowed by Thy name. Thy
                   kingdom come, Thy will be done,
                   on Earth as it is in heaven.
                   Give us this day our daily
                   bread, and forgive us our
                   trespasses, as we forgive --
                          (beat)
                   Aw, fuck it... little late for
                   that sob sister stuff...
      Cobb rises to his feet and looks in the mirror again.
      He grabs a hand towel and daubs his face with it. A bit
      more blood trickles from his mouth. And gradually a deep
      calm seems to settle over him.
<b>                                 COBB
</b>                   ... so this is what it feels
                   like...

<b>153   COBB                                                            153
</b>
      returns to the bedroom and sits down on the edge of the
      bed, next to Stump who continues his deep, drunken sleep.
      Cobb picks up the phone and dials as he continues mopping
      his chin with the towel. He speaks with great calm.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                              133.
</b>
<b>153   CONTINUED:                                                     153
</b><b>                                 COBB
</b>                          (on phone)
                   Can you get me the Emory
                   Hospital?
                          (couple beats)
                   Hello, Ma'am? This is Ty Cobb.
                   Can you please prepare your
                   finest room for me? Tomorrow
                   morning would be fine.
      Cobb hangs up and leans back on the bed next to Stump
      who is still deep in drunken sleep. One man sleeps
      deeply, the other just sits there.
<b>                                                    DISSOLVE TO:
</b>

<b>154   EXT. JEFFERSON DAVIS MOTEL - EARLY NEXT MORNING              154
</b>      The limousine pulls away from the motel.      The rain has
      stopped.


<b>155   INT. MOTEL - EARLY MORNING                                   155
</b>      Stump rolls over -- The hangover is brutal. He looks
      worse than we've ever seen him. He reaches for the
      bottle. Empty.

<b>                                  STUMP
</b>                   Ty.
                            (off no answer)
                   Tyrus.
                          (off no answer)
                   Peach...
      Stump struggles to his elbow to find Cobb.

<b>      STUMP'S POV - COBB'S BED
</b>
      is empty and still neatly made.

<b>      BACK TO SCENE
</b>
      Stump sits up with a start. He is suddenly, by circum-
      stance, awake and alert, though he looks like hell. He's
      also alarmed -- something is wrong.

<b>                                  STUMP
</b>                   Ty!
      Stump leaps out of bed and looks around.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                               134.
</b>
<b>155   CONTINUED:                                                      155
</b><b>      STUMP'S POV
</b>
      Three holes of broken plaster and mirror.
<b>                                STUMP (O.S.)
</b>                   God...


<b>      BACK TO SCENE
</b>      He rushes to the fireplace where only embers now glow.
      He sees something --

<b>      STUMP'S POV
</b>
      The "real" manuscript scattered around the floor near the
      chair. Nearby, the bathroom door is open.
      Stump hurries into the bathroom and stops cold.
      Blood is on the sink and on the towels. A note is on the
      mirror. He pulls the note down and reads it.

<b>                                 COBB (V.O.)
</b>                   'Dear Alimony, you lying S.O.B.
                   -- I'm checking myself into the
                   hospital. I think the end is
                   near. Your Pal, Ty.'


<b>      CLOSE ON STUMP
</b>      Deeply alarmed.
<b>                                                     CUT TO:
</b>

<b>156   EXT. EMORY STATE HOSPITAL - DAY                              156
</b>      A cab pulls up -- Stump gets out. He's cleaned up now,
      shaved, dressed neatly. He enters.
<b>                                                     CUT TO:
</b>

<b>157   INT. EMORY STATE HOSPITAL - DAY                              157
</b>      Stump goes up to a reception desk and introduces himself.

<b>                                 STUMP
</b>                   I'm here to see...
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               135.
</b>
<b>157   CONTINUED:                                                      157
</b>      A CRASHING NOISE and shouting erupt from down the hall.
      A tray of food is thrown out into the hall.

<b>                                 COBB (O.S.)
</b>                   Get the hell outta here! You
                   call this a hospital?! You call
                   this food?! You know who I am?!

<b>                                   STUMP
</b>                   ... Mr. Cobb.

<b>                                 RECEPTIONIST
</b>                   Be careful. He's got a gun and
                   we haven't been able to get it
                   away from him.

<b>                                 STUMP
</b>                   I know, I know...
      Stump hurries down the hall to the source of the noise.
      A small group of doctors, orderlies and NURSES are
      gathered outside Cobb's door, afraid to enter. Also
      there are two civilians in business suits.
<b>                                 NURSE #1
</b>                   He doesn't want visitors.
      Stump ignores the advice and enters the room.
<b>                                                     CUT TO:
</b>

<b>158   INT. COBB'S HOSPITAL ROOM - DAY                              158
</b>      Cobb sits in bed -- His gun and his money are next to
      him. He's giving orders, ranting and raving in a classic
      Cobb rage. A bottle hangs from a pole, feeding his arm.
      A doctor and two Nurses are present, trying to deal with
      him.

<b>                                 COBB
</b>                   Hey, Stumpy, where you been?
                   You can't believe the shit they
                   call food in this joint. You get
                   some sleep? Good. I had quite a
                   read last night...
      A Nurse enters warily, but determined, with a small sy-
      ringe.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               136.
</b>
<b>158   CONTINUED:                                                      158
</b><b>                                 NURSE #1
</b>                   Excuse me, sir, but I need to
                   draw some more blood.
<b>                                 COBB
</b>                   Put a bucket under my chin and
                   I'll cough up a couple pints for
                   ya.
<b>                                 NURSE #1
</b>                   I have to do it this way.

<b>                                 COBB
</b>                   Well don't poke around too long.

      He holds out his arm for her.    She begins drawing blood.

<b>                                 COBB
</b>                   She's a nice piece of ass, eh,
                   Stumpy?
                          (to Nurse)
                   You come back later and climb on
                   the big fella?

<b>                                 NURSE #1
</b>                   It's against regulations, sir.
<b>                                 STUMP
</b>                   So you read the book.
<b>                                 COBB
</b>                   Yeah, God damn it, I thought I
                   could trust you -- I used to be
                   able to figure out people better.
<b>                                 STUMP
</b>                   That book is the truth.

<b>                                 COBB
</b>                   You're a God damn romantic! The
                   truth is a whore! Just like you
                   and just like my mother!
      Another NURSE enters and announces.

<b>                                 NURSE #2
</b>                   A Mr. Barton is here to see you.
                   He says he's the chairman of the
                   board of Coca Cola.

<b>                                 COBB
</b>                   Tell the son of a bitch to go
                   downstairs and have a Pepsi --
                   I got no time for business.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                   137.
</b>
<b>158   CONTINUED:    (2)                                               158
</b>      Nurse #1 tapes Cobb's arm and escapes with the blood
      sample.

      A YOUNG DOCTOR enters, also warily.
<b>                                 YOUNG DOCTOR
</b>                   I need to take your blood
                   pressure, sir.
<b>                                  COBB
</b>                   It's high.   What else you need to
                   know?
<b>                                 YOUNG DOCTOR
</b>                   I have to do it.

      The Young doctor wraps Cobb's arm with the device and
      begins pumping.
      Another OLDER DOCTOR enters and addresses Cobb head on.
<b>                                 OLDER DOCTOR
</b>                   Mr. Cobb. We cannot allow you
                   to have a gun in here.
      Cobb picks up the gun and aims it at the doctor.
<b>                                 COBB
</b>                   Come and get it.
      The Older Doctor turns and leaves.        Stump enjoys the
      show.
<b>                                 COBB
</b>                   Y'know, Stumpy, my oldest son
                   was a doctor -- a hacksaw artist,
                   that's all they are --
                          (increasing rage)
                   He died of a brain tumor when he
                   was forty -- hadn't spoke to me
                   in fifteen years 'cause I was
                   such a rotten father -- put that
                   in your God damn book!
      The Younger Doctor completes his task and slips away.

<b>                                 COBB
</b>                          (to the Younger
                           Doctor)
                   Bad, ain't it?

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               138.
</b>
<b>158   CONTINUED:    (3)                                             158
</b><b>                                 STUMP
</b>                   I don't know which version of your
                   life I'm going to publish. I
                   really don't.
<b>                                 COBB
</b>                   There ya go again! Accommodating
                   me and you don't have to! I
                   died faster than you could write!
      Cobb waves his gun just as some more doctors enter.

<b>                                 COBB
</b>                   Get the hell outta here! Everybody
                   but Stumpy! Out!

      The room clears -- leaving only Cobb and Stump.
<b>                                 COBB
</b>                   You fooled me, Stumpy, nobody
                   ever fooled me but you pulled it
                   off! I thought we were pals!
<b>                                 STUMP
</b>                   I didn't know what I was getting
                   into with this job.
<b>                                 COBB
</b>                   Quit explaining yourself! Stand
                   by your convictions! You beat
                   the great Ty Cobb! I respect
                   that! But if you print it --
                   print it all!
                          (beat)
                   My second son weighed 300 pounds
                   and he died of a heart attack in
                   the arms of a hooker in Paso
                   Robles. My other son I lost all
                   track of and my two daughters
                   won't speak to me and my two ex-
                   wives won't and my siter you know
                   won't! Print it all!
                          (beat)
                   And Ty Cobb can't get it up
                   anymore! Print that too!

<b>                                 STUMP
</b>                   It's all... confusing...
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               139.
</b>
<b>158   CONTINUED:     (4)                                           158
</b><b>                                 COBB
</b>                   It's not! It's simple! You won!
                   Tell the world that the greatest
                   ballplayer who ever lived was also
                   the biggest bastard! Who cares
                   now?! I give you permission and
                   my blessing! From here on it's
                   your story!
      Stump nods and pulls a pint of whiskey from his coat
      pocket. He goes up to Cobb and tucks the whiskey
      under the blanket.
<b>                                 STUMP
</b>                   Here's a little something might
                   help.

      Cobb nods in appreciation.
<b>                                 COBB
</b>                   Where's my money?
<b>                                 STUMP
</b>                   Right here, Peach... next to your
                   gun.
      Cobb grabs Stump's hand for one last word.
<b>                                 COBB
</b>                   Stumpy, there's nothing wrong with
                   wanting glory.
                          (beat)
                   Now get the hell outta here.

      Stump places Cobb's hand on his money, nods, and --
      Stump leaves the room without looking back at --

<b>      COBB IN BED
</b>
      with a gun -- in the last stages of life, his health
      in total collapse, he is in complete control.
<b>                                                     CUT TO:
</b>

<b>159   INT. HOSPITAL HALLWAY - DAY                                  159
</b>      Doctors, nurses, orderlies, men in suits -- all are
      waiting nervously outside the door as Stump emerges.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                               140.
</b>
<b>159   CONTINUED:                                                      159
</b><b>                                 OLDER DOCTOR
</b>                   What about the gun? Did you get
                   it?
<b>                                 STUMP
</b>                   Naw, I didn't get the gun...

      And Stump leaves the hospital, passing the Coke
      Executive. As he does he looks back over his shoulder
      to see:


<b>      POV SHOT - DOCTORS, ET AL.
</b>      rushing back into Cobb's room.    And --

      The sounds of CRASHING, BROKEN GLASS, and COBB'S
      thunderous VOICE.
      Stump smiles slightly and walks away.
<b>                                                     CUT TO:
</b>

<b>160   EXT. "WELCOME TO ROYSTON" SIGN - EDGE OF TOWN - DAY          160
</b>      A teenage boy re-paints the faded sign that reads "Home
      of Ty Cobb". The luster returns to the old sign.

<b>                                 STUMP (V.O.)
</b>                   I gave a few bucks to a local kid
                   to re-paint the sign, and
                   disappeared for a while to finish
                   the manuscripts...
                          (beat)
                   And wait for Cobb to die...
                          (beat)
                   And while I waited, Ernest
                   Hemingway blew his brains out,
                   Getty bought Honolulu Oil Company,
                   and the brunette in the courtyard
                   ran away with a handsome young
                   lawyer...

<b>      CLOSE ON SIGN
</b>
      As Cobb's image rounding third reappears in all its
      former glory.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                141.
</b>
<b>160   CONTINUED:                                                       160
</b><b>                                 STUMP (V.O.)
</b>                   And on July 17, 1961... Ty Cobb
                   died quietly in his sleep. I
                   don't believe it was quiet, nothing
                   he did was quiet, but that's what
                   the newspaper writer said who wrote
                   the lead and we all know that
                   writers never lie...
      PAN OVER ACROSS the sign -- to the adjacent cemetery
      as --

      A hearse enters the cemetery grounds followed by three
      cars. A very humble ceremony.

      And the voice of a country gospel singer can be heard.

<b>                                 COUNTRY GOSPEL (V.O.)
</b>                   'There is a fountain filled with
                     blood,
                   Drawn from Emmanuel's veins...'
<b>                                                      CUT TO:
</b>

<b>161   EXT. CEMETERY - DAY                                           161
</b>      The mausoleum -- The coffin sits by the open crypt.

<b>                                 STUMP (V.O.)
</b>                   Somebody hired a singer...
<b>                                 COUNTRY GOSPEL SINGER (V.O.)
</b>                   'And sinners plunged beneath that
                     flood,
                   Lose all their guilty stains...'

<b>                                 STUMP (V.O.)
</b>                   ... but it was the grimmest damn
                   funeral service I'd ever seen.

      Stump stands in the distance, at the back of the cemetery,
      watching the simple, empty service.
<b>                                 STUMP (V.O.)
</b>                   He left all his money to his
                   family, though no members of it
                   managed to attend the funeral, and
                   with the rest he founded a hospital
                   in his own name and an educational
                   trust fund for poor Georgia
                   children.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               142.
</b>
<b>161   CONTINUED:                                                      161
</b><b>      POV SHOT - THREE OLD MEN
</b>
      in dark suits drop flowers on the coffin.
<b>                                 STUMP (V.O.)
</b>                   Only three ballplayers attended
                   the service -- three oldtimers
                   who he'd been supporting
                   financially for many years, a
                   fact he didn't want made public.


<b>      POV SHOT - SCHOOL BUS
</b>      pulls in and unloads -- Dozens of Little Leaguers in
      uniform join in the service.

<b>                                 STUMP (V.O.)
</b>                   Somebody rounded up some Little
                   Leaguers, probably so the press
                   photographers would have some
                   sob sister photos... the sort
                   Cobb hated... except the press
                   didn't bother coming.
                          (beat)
                   I'll give him this -- the family
                   was under one roof again.


<b>      BACK TO SCENE
</b>      Stump turns and slips quietly out of the cemetery.
<b>                                 STUMP (V.O.)
</b>                   I called my publisher. The book
                   was ready. Only I didn't know
                   which one to turn in.

<b>                                                      DISSOLVE TO:
</b>
<b>162   EXT. SPORTSMAN'S LOUNGE - LATE AFTERNOON                       162
</b>      The regulars are still there, still drinking, still
      griping.

<b>                                 BILL
</b>                   ... so a woman goes into a bar
                   with a duck under her arm, sits
                   down next to a drunk who looks up
                   and says, 'Where'd you find that
                   pig?' An' the woman says 'That's
                   no pig, that's a duck.'
<b>                                 (MORE)
</b>
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               143.
</b>
<b>162   CONTINUED:                                                      162
</b><b>                                 BILL (CONT'D)
</b>                   An' the drunk says, 'I know, I was
                   talking to the duck.'
      Bored laughter and another hit on their everpresent
      drinks.

      And Stump enters for the first time in nearly a year.
<b>                                 BILL
</b>                   Al!

      Stump enters comfortably, happy to see his cronies at
      last. Frank and the others come over from the bar,
      quickly gathering around Stump.

<b>                                  FRANK
</b>                   Stranger!   Another round on me!
      Stump settles in at the table.
<b>                                 CRONIES
</b>                   Long time no see, etc...

<b>                                 STUMP
</b>                   Good to see you guys... how's
                   it goin'? Alan, how's that
                   novel coming? Must be about
                   done by now?
<b>                                 MUD
</b>                   Uh, actually, I haven't started
                   it yet... been kinda busy...

<b>                                 BILL
</b>                   We all been busy...

<b>                                 STUMP
</b>                   Yeah, I know how it is...
<b>                                 FRANK
</b>                   We read that Cobb died.
<b>                                 STUMP
</b>                   Yeah... finally gave up the ghost.

<b>                                  FRANK
</b>                   So?   What was he like?
<b>                                 MUD
</b>                   Were the stories true or were
                   they exaggerated?
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                 144.
</b>
<b>162   CONTINUED:    (2)                                             162
</b>      The drinks arrive. Stump plays with his, swirling the
      drink around the ice with his finger, considering his
      answer.
<b>                                 REYNALDO
</b>                   Tell us the truth, man, was he
                   a monster?

<b>                                 BILL
</b>                   Or was he just one of the guys?

      Stump looks at the faces of his buddies, eagerly
      awaiting his judgement as if it is final wisdom.      He
      stirs his drink.

<b>                                STUMP
</b>                   The truth?
<b>                                 CRONIES
</b>                   Ohyeah, the absolute truth, no
                   bullshit, give it to us
                   straight, etc...
<b>                                STUMP
</b>                   The truth?
      Stump takes a drink and looks his friends in the eye.
<b>                                 STUMP
</b>                   A prince and a great man has
                   fallen.
      Murmurs of deep satisfaction from the Cronies.
      Affirmation.
<b>                                 CRONIES
</b>                   Yes, awright, we knew it...
                   etc...
<b>                                 BILL
</b>                   Helluva guy, eh?

<b>                                 STUMP
</b>                   A helluva guy, a great man, a
                   misunderstood artist, a fierce
                   competitor but a sweet man at
                   heart... a gentle soul...
      As Stump starts lying to his enraptured audience, we PULL
      BACK AND UP, going FROM the intimate center of the table
      TO a cool distance, and --

<b>                                                     DISSOLVE TO:
</b><b>
</b><b>                                                             145.
</b>
<b>163   EXT. DIRT BALLFIELD IN GEORGIA - DUSK                        163
</b>      Some kids play baseball with a taped-up ball, patched
      up bat, no uniforms, rocks for bases. The right way.

<b>                                STUMP (V.O.)
</b>                  I published the lie and put the
                  truth in a closet...

      PAN OVER TO the Royston Cemetery in b.g.

<b>      MAUSOLEUM
</b>
      Nearby, two holes in the earth have been opened up and
      the caskets of Cobb's mother and father are being moved
      into the mausoleum.

<b>                                STUMP (V.O.)
</b>                  Cobb and his father and mother
                  were together at last...
                         (beat)
                  The man had some deep, unexpressed
                  sorrow that I could never know.
                  I embraced him and I hated him...
                         (beat)
                  And I knew I would never write a
                  novel, unless you considered 'Cobb'
                  a work of fiction -- which I did
                  not.

<b>                                                    DISSOLVE TO:
</b>
<b>164   EXT. TIGER STADIUM (DETROIT) - DUSK                          164
</b>
      Stump walks from the dugout to the field. He stares up
      at the magnificent old structure, the overhanging right
      field facade, the great upper deck, almost a century of
      baseball has been played there. Cobb's palace.
<b>                                STUMP (V.O.)
</b>                  My friends were thrilled to hear
                  that the Georgia Peach was a
                  helluva guy -- it excused their own
                  failures -- if Cobb was okay, then
                  by God, they were okay...
                         (beat)
                  But finally I didn't lie for
                  them, or the children of America,
                  or somesuch hogwash -- finally I
                  lied for myself.
                         (beat)
                  I needed Cobb to be somebody he was
                  not. I needed him to be a hero.
                  It is my weakness.

<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                               146.
</b>
<b>164   CONTINUED:                                                      164
</b>      Stump turns to walk off the field.

<b>                                 STUMP (V.O.)
</b>                   The book was a moderate success...
      The empty stadium, cavernous, half cathedral, half
      factory...

      Fritz Kreisler's VIOLIN MUSIC that Cobb adored drifts
      up.

<b>                                                   DISSOLVE TO:
</b>
<b>165   SHOTS OF COBB IN ACTION (B&W)                               165
</b>
      His demon fury gives way to the fierce joy of his play-
      ing. He slashes a ball up the alley, turns first and
      never hesitates at second, and as the relay comes into
      third --
      Cobb slides with spikes high and a cloud of dust.
<b>      FREEZE FRAME.
</b><b>                                                   FADE OUT.
</b>



<b>                                 THE END
</b><b>
</b></pre><br>
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	<td><h1>Cobb</h1><br><br>
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    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Drama" title="Drama Scripts">Drama</a><br><br><br>
		
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Where do Cobb and Stump decide to drive?
Where do Cobb and Stump decide to drive ?
They are going to the Baseball Hall of Fame.
They are going to the Baseball Hall of Fame .
Baseball Hall of Fame
Baseball Hall of Fame