The Bodyguard (1992)/Transcript

CAPTIONING MADE POSSIBLE BY
 WARNER BROS.
[GUNSHOTS]
STAY DOWN.
JUST STAY DOWN.
 
FREEZE!
 JUST FREEZE.
YOUR HANDS
EVER SHAKE, FRANK?
SOMETIMES.
IT'S JUST
 ADRENALINE.
OF COURSE.
 HOW DID YOU KNOW?
I SAW HIM
WASHING THE CAR.
SO DID I.
THEY DON'T WASH CARS
ON THE PARKING LEVELS.
FRANK, I'D LIKE YOU
 TO STAY ON.
I'M NO GOOD
IN A PERMANENT POSITION.
MY...MY FEET
GO TO SLEEP.
Crowd chanting:
 RACHEL! RACHEL!
 
RACHEL! RACHEL!
Man: RACHEL!
[CROWD CHEERS]
[SCREAMS]
¶ JUST WALK AWAY,
 RENEE... ¶
YOU'RE TURNING DOWN
2,000 BUCKS A WEEK?
SO, YOU'RE SAYING
YOU WON'T PROTECT RACHEL MARRON
JUST BECAUSE
SHE'S IN SHOW BUSINESS?
I DON'T DO
 CELEBRITIES.
2,500.
LOOK, THERE'S SEVERAL
 GOOD MEN AVAILABLE
FOR THAT KIND OF MONEY.
HAVE YOU TALKED
 TO RACINE...
FITZGERALD...PORTMAN?
YEAH. PORTMAN
WAS INTERESTED,
BUT WE HEARD THAT YOU
WERE THE BEST.
THERE'S NO SUCH THING.
FARMER, WE'RE TALKING ABOUT
A VERY FRIGHTENED LITTLE LADY
WITH AN 8-YEAR-OLD SON.
BELIEVE ME,
I WOULDN'T BE HERE
IF I DIDN'T THINK
THIS WAS FOR REAL.
FARMER, SHE BEGGED ME
TO GET YOU.
PLEASE, FARMER.
PLEASE, FARMER, JUST--
ALL RIGHT. I'LL COME.
OK?
I'LL LOOK
THE SITUATION OVER.
IF I TAKE IT,
IT'S 3,000 A WEEK.
[WHISTLES]
YOU MUST BE VERY DEADLY
 FOR 3 GRAND A WEEK.
WATCH AND SEE.
SHIT.
I KNOW IT'S
 SOMETHING...
HEY!
SORRY.
BETTER NOT
 STAND THERE EITHER.
[STATIC BUZZ]
Man: YES?
FRANK FARMER
TO SEE MISS MARRON.
WHAT?
ALEXANDER GRAHAM BELL
TO SEE MISS MARRON.
GOT AN APPOINTMENT?
YEAH. THE ATOMIC NUMBER
OF ZINC IS 30.
ALL RIGHT.
YEAH. CAN I HELP YOU?
ARE YOU THE MAN
 ON THE INTERCOM?
NO. CAN I HELP YOU?
MY NAME'S EDISON.
I HAVE AN APPOINTMENT
 WITH MISS MARRON.
UH-HUH.
AND THAT WAS
ARRANGED BY, UH...
MR. DEVANEY.
OH, OK.
WELL, GO RIGHT AHEAD,
MR. EDISON.
WHAT HAPPENED
 TO YOUR ARM?
A DOLL.
[DOORBELL CHIMES]
YES?
HENRY FORD
TO SEE MR. DEVANEY.
WHO?
HENRY FORD.
COME IN, PLEASE.
[ROCK MUSIC PLAYS]
HOLD STILL.
YEAH.
ONE MORE.
ALL RIGHT.
PLAYBACK, EVERYBODY.
YEAH!
THAT'S IT!
Woman: THAT'S WHAT
I'M TALKING ABOUT.
THAT'S WHAT I WANT.
RORY, YOU KICKED IT.
I'M GLAD YOU CAME.
 COME ON.
I'LL INTRODUCE YOU
 TO RACHEL.
TONY!
I BET YOU LOVED IT.
HE DOESN'T KNOW
 GREAT ART.
RACHEL,
 FRANK FARMER'S HERE.
IS THIS ME?
IT'S TERRIFIC.
 FRANK FARMER'S HERE.
WHO'S HERE?
FRANK FARMER.
THE BODYGUARD.
I THINK RORY
 SHOULD BE MY BODYGUARD.
[LAUGHTER]
RAISE YOUR BUTT
 AND COME MEET HIM.
[GROANS]
ALL RIGHT, I'M UP.
FRANK FARMER...
RACHEL MARRON.
HELLO.
HI.
WELL, YOU DON'T LOOK
 LIKE A BODYGUARD.
WHAT DID YOU EXPECT?
WELL, I DON'T KNOW.
 MAYBE A TOUGH GUY?
THIS IS MY DISGUISE.
WELL, HIS TIMING'S GOOD.
THIS IS NICKI,
 RACHEL'S SISTER
AND
 PERSONAL SECRETARY.
NICE TO MEET YOU,
 MR. FARMER.
TONY SCIBELLI...
SY SPECTOR,
 RACHEL'S PUBLICIST.
SO, CAN WE GET YOU
 A DRINK?
ORANGE JUICE.
STRAIGHT?
YEAH.
NICKI.
LISTEN, THIS WHOLE THING
 IS BILL'S IDEA.
THIS SUDDEN OBSESSION
 WITH PROTECTING ME--
COME ON, BABY, GET UP.
TONY'S ALWAYS DONE
 MY SECURITY,
AND I THINK WE'VE DONE
 JUST FINE.
BILL'S RIGHT, RACHEL.
IT'S TIME YOU TOOK
MORE PRECAUTIONS.
THE NUMBER OF NUTS
 WRITING FAN LETTERS JUMPS
EVERY TIME RACHEL'S
 ON A MAGAZINE COVER.
NOT LIKE THIS.
RELAX, GUYS, RELAX.
I SAID
 I'M GOING TO DO IT.
SEE WHAT I'M
 DEALING WITH HERE?
I'LL DO THIS PROVIDED WE
 UNDERSTAND EACH OTHER.
I'M NOT GOING TO LET
 THIS ALTER MY LIFE.
HONEY, THAT'S NOT
GOING TO BE A PROBLEM.
RACHEL RUNS
AN INFORMAL HOUSEHOLD.
WE'RE ALL
ON A FIRST-NAME BASIS.
I'M SURE YOU'RE GOING
 TO FIT IN FINE.
YOU CAN CHOOSE
 WHATEVER ALARM SYSTEM
YOU WANT FOR THE HOUSE.
IMPROVED SECURITY
 FOR THE GATE. RACHEL!
WHAT ELSE?
I THINK I'M SAFE WHEN
 I'M HERE AT THE HOUSE.
SO I GUESS THE MAIN THING
 WILL BE WHEN I GO OUT.
TONY WILL FILL YOU IN
 ON ALL THAT STUFF.
I DON'T WANT YOU FOLLOWING
 ME EVERYWHERE I GO.
THE IMPORTANT THING
 IS THIS, THOUGH:
I WILL NOT ALLOW FLETCHER
 TO BE AFFECTED BY THIS.
WE'LL TELL THE BOY
YOU'VE GOT SOME
 OTHER FUNCTION, OK?
I DON'T WANT HIM TO THINK
 HE'S IN PRISON, EITHER,
SO THE HOUSE MUST NOT
 BE ALTERED IN ANY WAY.
HE SHOULDN'T EVEN BE AWARE
 THAT YOU'RE HERE.
MISS MARRON...
RACHEL.
THERE'S BEEN A MISTAKE,
A MISUNDERSTANDING.
SO IF YOU'LL SHOW ME
THE QUICKEST WAY OUT,
I'LL SAVE US EACH
A LOT OF TROUBLE.
YOU CAN GO
 BY THE POOL.
NICE MEETING YOU.
THE DOOR ON THE END.
TONY, SHUT UP.
FARMER, WAIT A MINUTE.
WE SHOULDN'T
 BE BEGGING THIS GUY.
SY, I'M
 HANDLING THIS.
FARMER, WOULD YOU
 WAIT A MINUTE?
I SHOULD'VE TOLD YOU MORE,
BUT I WAS AFRAID
YOU WOULDN'T DO IT.
I THOUGHT YOU TWO WOULD
REACH AN UNDERSTANDING.
WE DID.
SHE'S NOT A BAD PERSON,
AND WHETHER SHE KNOWS IT
OR NOT, SHE NEEDS YOU.
YOU'VE COME THIS FAR.
JUST WAIT ONE MINUTE.
I WANT TO SHOW YOU
 SOMETHING.
PLEASE, FARMER.
ALL RIGHT.
HI.
HI.
HOW ARE YOU TODAY?
I'M FINE.
 HOW ABOUT YOURSELF?
OH, I'M FINE.
DO YOU LIKE BOATS?
UH...
NO, I DON'T
 LIKE BOATS.
WHY NOT?
I DON'T KNOW.
SURE, YOU DO,
BUT YOU DON'T WANT
TO TELL ME.
YOU'RE
 A PRETTY SMART KID.
ONE TIME I WAS
 STUCK ON A BOAT
WITH SOME PEOPLE
 FOR FOUR MONTHS.
A LIFEBOAT?
NO. IT WAS
 A BIG WHITE YACHT.
YOU'RE THE BODYGUARD,
AREN'T YOU?
WHAT DO YOU
 KNOW ABOUT IT?
I'VE GOT EARS.
WELL,
 I'LL REMEMBER THAT.
THIS IS JUST IN
THE LAST SIX MONTHS.
HAVE YOU TRIED HAVING THESE
 PROFESSIONALLY ASSESSED?
BILL SAID
 YOU USED TO BE
WITH
 THE SECRET SERVICE.
THAT'S RIGHT.
YOU EVER GUARD
 THE MAIN MAN?
I WAS TWO YEARS
 WITH CARTER,
FOUR WITH REAGAN.
REAGAN GOT SHOT.
NOT ON MY SHIFT.
THAT'S GOOD.
THIS COULD BE SOMETHING.
YOU THINK IT COULD BE
THE SAME GUY?
THE ONE
WHO RIGGED THE DOLL?
DID YOU TELL MISS MARRON
 ABOUT IT?
DOES SHE KNOW
 ABOUT THE DOLL?
WE SAID THERE'D BEEN
ME ELECTRICAL PROBLEM
WHILE SHE WAS ON STAGE,
LIKE A SHORT CIRCUIT.
SHE DOESN'T NEED
THIS KIND OF WORRY NOW.
THIS WOULD
REALLY UPSET HER.
WHAT ABOUT
 THE POLICE?
NO NEED.
NO ONE GOT HURT.
THE CHAUFFEUR
 GOT HURT.
THAT WAS NOTHING.
IT WAS JUST
OUR PEOPLE THERE.
SY, I THINK WE SHOULD
 SHOW HIM THE ROOM.
¶ SHARE MY LIFE ¶
¶ TAKE ME
 FOR WHAT I AM ¶
¶ 'CAUSE I'LL
 NEVER CHANGE ¶
¶ ALL MY COLORS
 FOR YOU ¶
IS THIS
 HER BEDROOM?
YEAH.
NO.
SHE SLEEPS IN A ROOM
NEXT TO FLETCHER'S
 DOWN THE HALL.
SY HAD THIS DONE
 FOR A MAGAZINE LAYOUT.
"SUPERSTARS
AND THEIR BOUDOIRS."
DID YOU SEE IT?
NO.
WE FOUND
 THE LETTER HERE.
SOMEONE WAS IN HERE?
SOMEBODY BROKE IN
AND MASTURBATED
 ON THE BED.
SHE DOESN'T KNOW
 ABOUT THIS EITHER?
ARE YOU KIDDING?
THIS WOULD REALLY
FREAK HER OUT, WOULDN'T IT?
WHAT DO YOU THINK?
WELL...SOMEONE
 PENETRATES THE HOUSE,
GETS UPSTAIRS,
 JERKS OFF ON THE BED,
I'D SAY THAT QUALIFIES
 AS A PROBLEM.
WE DON'T NEED THIS.
WHAT KIND
 OF PROBLEM?
THE HOUSE
 IS WIDE-OPEN.
EXCUSE ME?
THE HOUSE
 IS WIDE-OPEN.
YOU PEOPLE HAVE NO CLUE
 WHAT SECURITY IS
OR HOW TO ACHIEVE IT.
TELL ME HOW, AND
 I'LL ACCOMMODATE YOU.
I CAN'T PROTECT HER
 LIKE THIS.
LIKE WHAT?
I WON'T BE RESPONSIBLE
 FOR HER SAFETY
IF SHE DOESN'T UNDERSTAND
 WHAT'S GOING ON.
I'LL TALK TO HER.
I'LL MAKE HER
 UNDERSTAND.
BILL...
I'LL TALK TO HER.
SHE WON'T GIVE YOU
 ANY STATIC, FRANK.
YOU'VE GOT MY WORD
 ON THAT.
SURE, SHE WILL.
SO WHAT JOB
 IS PERFECT?
YOU'RE A BODYGUARD,
 AREN'T YOU?
YEAH.
¶ I HAVE NOTHING ¶
¶ NOTHING ¶
¶ NOTHING ¶
¶ DON'T MAKE ME ¶
¶ CLOSE ONE MORE DOOR ¶
¶ I DON'T WANNA
 HURT ANYMORE ¶
¶ STAY IN MY ARMS ¶
¶ IF YOU DARE... ¶
John Tesh on television:
WELL, GUESS WHAT?
IT'S OSCAR TIME AGAIN,
AND THIS YEAR
THE SMART MONEY'S ON
RACHEL MARRON
FOR BEST ACTRESS.
WITH THE THEME SONG
FROM HER LAST MOVIE
I HAVE NOTHING
 STILL BIG ON THE CHARTS,
IT LOOKS LIKE
THE VERSATILE ACTRESS-SINGER
COULD SOON END UP
ACTUALLY HAVING EVERYTHING.
¶ I HAVE NOTHING ¶
¶ NOTHING ¶
¶ NOTHING ¶
¶ IF I DON'T ¶
¶ HAVE YOU ¶
¶ YOU ¶
[SQUEALING]
WHY'D YOU SAY
 YOUR NAME WAS EDISON?
I WANTED TO SEE HOW DIFFICULT
IT WAS TO GET IN.
AND IT WASN'T,
 WAS IT?
NO.
HERE.
PUT IT ON YOUR ARM.
WHAT'S THIS?
IT'LL HELP
WITH THE ACHE.
I'LL BET YOU CAN
FILL UP A WHOLE DAY
WASHING THE CARS AND
DRIVING MISS MARRON AROUND.
WELL, THAT'S MY JOB.
WE'RE ADDING
TO YOUR DUTIES.
HUH?
WE'RE ADDING TO YOUR DUTIES.
YOU'RE MY NEW ASSISTANT.
SAYS WHO?
HENRY, I'VE SPENT
A LOT OF TIME GUARDING PEOPLE
ALL OVER THE WORLD,
AND ONE THING IS TRUE.
NO MATTER HOW INCOMPETENT
THE ASSASSINS,
NO MATTER HOW MUCH
 THEY MISS THEIR TARGET,
THERE'S ONE PERSON
WHO ALWAYS GETS HIT.
WHO?
THE COCKY BLACK CHAUFFEUR.
PUT THIS
IN THE POOL.
OVER TO THE LEFT
A LITTLE BIT.
THIS GATE WILL
 BE REPLACED NEXT WEEK.
I'LL HAVE
 TWO CAMERAS HERE.
ONE, A FACE CAMERA
 BY THE CALL BOX,
AND THE SCENE CAMERA
 ON TOP OF THIS PILLAR
LOOKING DOWN.
THESE TREES HERE,
 I WANT THEM CUT BACK
SO THE LIGHTS CAN SHINE
 ONTO THE PROPERTY.
THE PEOPLE
 WHO CUT THE PROPERTY--
I WANT TO MAKE SURE
 WE KNOW WHO THEY ARE.
OVER HERE...
I WANT THESE
 ALL CUT BACK.
MISS MARRON'S
 PAID ENOUGH
FOR THE PROPERTY,
SHE OUGHT TO BE
 ABLE TO SEE IT.
HEY, WHAT YOU
 LOOKING AT?
FRANK.
A FENCE IS GOING
 TO COME IN
ALL AROUND THIS
 PARTICULAR AREA.
IT'LL
 START HERE,
DOWN AROUND
 BY THE GATE.
COME ON.
 LET'S GO.
[TIRES SQUEAL]
NOT YET, NOT YET,
NOT YET...
NOW BRAKE.
POWER.
AND STOP.
¶ SO, CALL ME, BABE ¶
¶ OOH-OOH-OOH ¶
¶ SOMEDAY, SOME WAY ¶
¶ 'CAUSE I ¶
¶ I NEVER
 WANTED ANYONE ¶
COME HERE, BO.
COME HERE.
THAT'S A...
UNUSUAL TACTIC
 FOR A GUARD DOG,
BUT IT'S EFFECTIVE.
YOU CAN TAKE A LOOK
AROUND IF YOU WANT.
SORRY TO DISTURB YOU.
IT'S ALL RIGHT.
 IT'S AN EXCUSE TO REST.
THIS IS
 MY PERSONAL PLACE.
I'M THE ONLY ONE WHO
 WORKS OUT AROUND HERE.
OH...MY OWN EGO WALL.
NO PLATINUM RECORDS.
IS THIS YOU AND RACHEL?
MM-HMM.
 WHEN I WAS A KID,
I PUT TOGETHER
 THIS LITTLE BAND.
WE USED TO PLAY
 HIGH SCHOOL DANCES
AND STUFF LIKE THAT.
THEN RACHEL
 JOINED THE ACT,
AND, AS YOU CAN IMAGINE,
SHE WAS QUITE
 A LITTLE ENTERTAINER.
EVEN THEN SHE HAD A WAY
 OF STOPPING THE SHOW.
SO...I KIND OF QUIT--
PROFESSIONALLY ANYWAY.
YOU NEVER WENT BACK?
IT WAS PRETTY OBVIOUS
WHO THE STAR
 IN OUR FAMILY WAS.
A LOT OF WORK
 WENT INTO THIS.
A LOT OF WORK.
NO FINGERPRINTS, THOUGH.
YOU THINK THIS ONE
 IS TIED TO THE DOLL?
THAT'S WHAT
HER MANAGER THINKS.
THIS "I HAVE NOTHING" THING
 IS A NATURAL,
CONSIDERING THE RECORD
 AND THE MOVIE.
I SORT OF LOST
 TRACK OF YOU
AFTER WASHINGTON,
 FRANK.
YEAH.
SO, HOW'S PRIVATE STUFF?
IT'S FINE.
IT'S BIG MONEY, HUH?
HUH?
IT IS.
IT'S BIG MONEY, RIGHT?
YOU WOULDN'T
 WANT THIS JOB, RAY.
OHH!
IT IS BIG MONEY.
 FUCK! I KNEW IT.
YOU NEED
 AN ASSISTANT?
I'M DUE TO GET
 OUT OF HERE,
AND I'VE HAD IT
WITH ASSHOLIC
 BEHAVIOR.
WHAT A SCUMBAG
 WE'RE COVERING.
A WALKING SCHLONG SENATOR
 WHO SHALL REMAIN NAMELESS...
"HELLFIRE HENRY"
 KENT.
SHH!
SOMEBODY WANTS
TO POP HIM.
THAT'S NOT SURPRISING,
 CONSIDERING
WHAT THE SHITHEAD'S
 BEEN SAYING.
DO EVERYONE A FAVOR.
AS YOU KNOW, WE'RE
NONPOLITICAL THESE DAYS.
HEY!
I'LL SEND THE STUFF
 TO WASHINGTON,
AND BEHAVIORAL SCIENCES
OUGHT TO HAVE AN ANSWER
 IN A COUPLE DAYS.
THANKS.
RAY, WHY AM I GETTING
ALL THIS COOPERATION?
ARE YOU KIDDING?
SHE'S A BIG STAR.
IMPORTANT PEOPLE
 CARE ABOUT HER.
FRANK, POLITICS
 AND SHOW BIZ--
IT'S THE SAME THING
 THESE DAYS.
WELL, THANKS.
THERE SHE IS,
 HONEY.
CAN I HAVE
 YOUR AUTOGRAPH?
NO, HONEY...
SURE, YOU CAN.
WE'RE BIG FANS.
 CAN WE GET A PICTURE?
SHE'LL BE SO PLEASED.
YOU'RE OUR
 FAVORITE ACTRESS.
COME ON, NICKI,
 TAKE A GOOD ONE.
OH, SY.
THANK YOU SO MUCH.
YOU'RE WELCOME.
WE REALLY APPRECIATE IT.
I'M SURPRISED
 YOU DIDN'T PLUG 'EM.
HELP ME
 WITH THIS STUFF.
SIGN SOME
 "MUCH LOVE, RACHEL,"
AND YOU SIGN,
 "PEACE AND LOVE."
LET ME SET YOU STRAIGHT
 ABOUT A FEW THINGS, FRANK.
FOR STARTERS,
 I LOVE THIS LADY.
WHAT I DO FOR HER,
 I DO OUT OF LOVE.
I'M NOT SOME
 HIRED FUCKING GUN
HERE TO MAKE
 HER LIFE MISERABLE.
I DO THINGS
 THE WAY SHE LIKES.
HER HAPPINESS
 IS EVERYTHING TO ME.
NO PROBLEM.
I'D LIKE TO KNOW
HOW YOU HANDLE THINGS.
I HANDLE THINGS FINE.
YOU WATCH ME, AND
 YOU'LL LEARN SOMETHING.
TURN RIGHT HERE.
IS THAT HIM?
WHAT'S GOING ON?
SHORTCUT.
YOU WANT ME
 TO DO A 180?
NO, I DON'T WANT YOU
TO DO A 180.
I WANT YOU
 TO SLOW DOWN.
TAKE THE CAR
UP TO THE HOUSE.
HEY!
¶ I WANNA RUN
 TO YOU ¶
¶ OOO-OOO ¶
[HAMMERING]
[WORKMEN TALKING]
¶ I WANNA RUN ¶
¶ WON'T YOU HOLD ME
 IN YOUR ARMS ¶
¶ AND KEEP ME
 SAFE FROM HARM ¶
[YELLING]
[DRILLING]
SHUT UP!
SHUT UP!
JUST SHUT UP!
HE'S THROUGH
RUINING MY LIFE.
I'M GETTING GOD DAMN SICK
 OF RUNNING UP HERE
EVERY TIME
 HE STEPS ON YOUR TOES.
FARMER, WOULD YOU
 COME IN HERE FOR A MINUTE?
YOU UNDERSTAND?
DID YOU KNOW
HE WAS NUTS?
YOU KNOW WHO
 COULDN'T GET PAST
THE GATES YESTERDAY?
WHO?
ROBIN LEACH.
OH, YOU THINK
 THAT'S FUNNY?
THE MAN SPEAKS
 TO 20 MILLION PEOPLE
AND HE CAN'T EVEN
 GET IN HERE!
DID HE HAVE
 AN APPOINTMENT?
WHAT'S THIS ABOUT
BRUNCH AT CHARLIE'S?
RACHEL'S BEEN GOING EVERY SUNDAY
FOR THE LAST 5 YEARS.
I KNOW.
 I DON'T WANT HER
DOING ANYTHING
 SHE'S ALWAYS DONE.
"I DON'T WANT HER
DOING ANYTHING
SHE'S ALWAYS DONE."
THE MAN'S A FANATIC!
SO ARE THE GUYS
 HE'S PROTECTING YOU FROM.
WELL, EXCUSE ME
IF I DON'T FAINT.
THEN THINK ABOUT FLETC--
WHAT DO YOU WANT?
I WANT PEACE AROUND HERE!
FRANK?
WE'RE ALMOST DONE.
AND I WANT TO EAT BRUNCH
WITH MY FRIENDS.
SO GO ON TUESDAYS.
TUESDAY MORNING BRUNCH?
WHERE'D YOU
 GET THIS GUY, BILL?
LOUISE, YOU'VE GOT
TOO MUCH GREAT STUFF, GIRL.
TAKE IT ALL, DARLING.
YEAH. TRY THIS ON.
 YEAH.
HEY, FARMER, YOU WANT TO
 COME IN HERE WITH ME...
JUST TO BE SAFE?
YOU PROBABLY
 WON'T BELIEVE THIS,
BUT I HAVE A REPUTATION
 FOR BEING A BITCH.
I DIDN'T USED TO BE,
BUT YOU GET KNOWN
 FOR BEING A CERTAIN WAY,
A WAY PEOPLE THINK YOU ARE,
AND PRETTY SOON,
 YOU GET LIKE THAT.
GUESS YOU CAN'T HELP IT.
OH, SO YOU DON'T THINK SO.
YOU'RE SUCH AN EXPERT
 ON FAMOUS PEOPLE, HUH?
I'VE SEEN A FEW.
AND YOU DISAGREE?
YOU CAN BE
AS YOU CHOOSE TO BE.
IT'S AN ACT
OF DISCIPLINE SOMETIMES,
BUT IT CAN BE DONE.
IS THAT WHY
 YOU NEVER STAY
WITH ONE
 OF YOUR CLIENTS?
THEY TOO UNDISCIPLINED
 FOR YOU?
OR IS IT THAT
 YOU MIGHT START
TO CARE ABOUT THEM?
THAT'S RIGHT.
CAN'T YOU ANSWER
 STRAIGHT JUST ONCE?
YOU'RE TOO CLEVER FOR ME.
I CAN'T KEEP UP.
LOOK AT ME, FARMER!
YOU DON'T APPROVE OF ME,
 DO YOU?
DISAPPROVAL IS A LUXURY
I CAN'T AFFORD.
OH, IT GETS
 IN THE WAY, RIGHT?
DON'T LIKE YOUR EMOTIONS
 GETTING TO YOU?
NEVER MIX BUSINESS
 WITH PLEASURE?
THAT'S RIGHT.
WILL YOU GRAB
 THAT JACKET FOR ME,
THE RED ONE, PLEASE?
I'M HERE TO KEEP YOU ALIVE,
NOT HELP YOU SHOP.
THANKS.
¶ I KNOW ¶
¶ THAT WHEN
 YOU LOOK AT ME ¶
¶ THERE'S SO MUCH
THAT YOU JUST DON'T SEE... ¶
TWO MINUTES.
THREE, FOUR.
OK, WAIT. I WANT TO
MAKE IT REALLY FULL.
SHH, SHH, SHH, SHH.
WAIT A MINUTE.
WHAT?
¶ CAN'T YOU SEE
 THE HURT IN ME? ¶
¶ OH, I FEEL
 SO ALL ALONE ¶
¶ I WANNA RUN TO YOU ¶
¶ OOH OOH ¶
¶ I WANNA RUN TO YOU ¶
¶ OOH OOH OOH ¶
¶ WON'T YOU HOLD ME
 IN YOUR ARMS ¶
¶ AND KEEP ME SAFE
 FROM HARM? ¶
¶ I WANNA RUN TO YOU ¶
¶ OOH OOH ¶
¶ I WANNA RUN TO YOU ¶
¶ OOH OOH OOH ¶
PUT IT STRAIGHT UP.
RIGHT THERE. HOLD IT.
HOLD IT REAL STILL.
WHAT EXACTLY
 AM I LOOKING FOR?
A BOMB.
DON'T WORRY.
I ALREADY CHECKED.
PUT IT BACK HERE.
GET IT IN A LITTLE DEEPER.
HOLD IT STILL.
OK, NOW TURN IT.
GOOD. THERE. RIGHT THERE.
HOLD IT THERE
FOR A SECOND.
SON OF A BITCH.
I THOUGHT IT WAS DINNER.
ARE WE GOING
 SOMEWHERE ELSE?
THE MAYAN.
WHAT'S THE MAYAN?
IT'S A CLUB, FRANK.
COME ON, HENRY.
LET'S--
SPECTOR,
 YOU HAVE TO TELL ME
ABOUT THESE THINGS.
I JUST DID.
NICE SUIT, FRANK.
RACHEL.
I WANT YOU TO KEEP THIS.
IT'S BEAUTIFUL.
IT'S FITTED WITH
 A RADIO TRANSMITTER.
WHEN YOU CLOSE
 THE CLASP,
IT SENDS A SIGNAL,
SO IF THERE'S
 EVER A PROBLEM
AND WE'RE SEPARATED,
JUST PRESS IT, AND
 I'LL KNOW YOU NEED ME.
OK, SHE KNOWS
HOW IT WORKS.
COME ON.
LET'S GET GOING.
COME ON, HENRY.
 LET'S GO.
LOOK AT THIS.
LOOK AT THIS, RACHEL.
THEY DIDN'T FORGET.
 THEY DON'T FORGET.
GET INSIDE.
THE SHOW'S INSIDE.
HENRY, JUST KEEP
 THE CAR MOVING.
RACHEL!
HEY!
HEY!
HEY!
HOW YOU DOING UP THERE?
RACHEL!
RACHEL!
[GLASS BREAKS]
YEAH, THAT'S RIGHT.
 HE'S FROM PARIS.
HE'S AN AMAZING
 DIRECTOR.
PERFORMANCE ARTIST,
 TOO, APPARENTLY.
THIS IS
 HIS FIRST VIDEO.
RACHEL LOVES IT.
THIS IS SY'S IDEA.
I HONESTLY THOUGHT
SHE WAS GOING TO TALK TO YOU.
LOOK, YOU TOLD ME
 I HAD AN EXCLUSIVE.
MAYBE LATER.
I MEAN, WHAT CAN I SAY?
HI.
LAURIE.
HOW ARE YOU?
YOU KNOW PAUL, DON'T YOU?
I KNOW
 WHO SHE IS, SY.
SHE NORMALLY DOESN'T DO
 THIS KIND OF PLACE.
HE THINKS IT'LL BE GOOD
 FOR THE VIDEO.
HE SENT ANOTHER ONE.
WHAT DO YOU MEAN,
 ANOTHER ONE?
WHAT DO YOU MEAN,
 ANOTHER ONE?
THEY DIDN'T
 TELL YOU.
DIDN'T TELL ME WHAT?
THERE WERE SOME LETTERS
BEFORE, RACHEL,
SAME KIND OF THING--
THREATS, ODDBALL STUFF.
WE DIDN'T WANT
 TO WORRY YOU.
AND SOMEBODY
GOT INTO THE HOUSE.
SOMEONE WAS IN MY HOUSE?
LET'S NOT GET
 HYSTERICAL.
SOMEONE WAS IN MY HOUSE
 WHILE FLETCHER WAS THERE?
FLETCHER'S OK. THE HOUSE
 IS LIKE FORT KNOX.
I MEAN--RIGHT, FRANK?
WE SHOULD GET HER
 OUT OF HERE.
THERE'S NO WAY
ANYONE--
NO WAY
 ANYONE COULD WHAT?
EVERYBODY CALM DOWN.
LET'S JUST SEE
HOW SHE IS, OK?
HOW DO YOU FEEL,
HONEY?
[DOOR BURSTS OPEN]
RACHEL!
RACHEL!
RACHEL!
RACHEL!
RACHEL!
"WATCH THE DOOR"
MEANS NO CANDY.
IT MEANS NO FLOWERS.
DO YOU THINK
 HE'S OUT THERE?
HE'S HERE, ISN'T HE?
HE MIGHT BE.
FRANK,
WE DON'T KNOW THAT!
BUT YOU KNOW
 HE WAS IN MY HOUSE, SY!
LET'S GO HOME, SY.
WE'LL HAVE TO
MAKE AN ANNOUNCEMENT.
FINE, BILL,
 YOU MAKE IT!
YOU TELL THEM!
THEY'LL TEAR
THE FUCKING PLACE APART!
RACHEL!
RACHEL!
RACHEL!
RACHEL!
LADIES AND GENTLEMEN...
OH, MY GOD! RACHEL!
I'M SORRY,
 BUT DUE TO CIRCUMSTANCES
BEYOND OUR CONTROL...
RACHEL!
RACHEL!
RACHEL!
 RACHEL!
WAIT! WAIT! WAIT!
RACHEL, DON'T DO IT.
 IT'S NOT WORTH IT.
NO FUCKING FREAK IS
GOING TO RUN ME OFFSTAGE.
GET THIS VIDEO OUT FRONT
CUED UP.
TONY, COME ON, LET'S GO.
WE'RE ON.
CHANGE OF PLAN.
 WE'RE NOT COMING.
WHAT?
I'M AFRAID RACHEL
 WILL NOT BE ABLE
 TO APPEAR TONIGHT.
RACHEL!
RACHEL!
RACHEL!
RACHEL!
RACHEL!
RACHEL!
RACHEL!
JUST A MINUTE.
GIVE ME A CHANCE.
BILL DEVANEY,
 EVERYBODY.
HELLO, HELLO, HELLO.
HELLO!
HELLO!
JUST WANTED TO STOP BY
AND MAYBE SING A SONG.
I HOPE YOU DON'T MIND,
 DO YOU?
YEAH! ALL RIGHT,
 THANK YOU SO MUCH.
LISTEN, ISN'T BILLY THOMAS
 THE GREATEST?
I MEAN, HE'S THE GREATEST.
GO FOR IT, RACHEL!
YOU WANT TO SEE
 MY NEW VIDEO?
[MUSIC PLAYS]
¶ I GOT THE STUFF
 THAT YOU WANT ¶
¶ I GOT THE THING
 THAT YOU NEED ¶
¶ I GOT
 MORE THAN ENOUGH ¶
¶ TO MAKE YOU
 DROP TO YOUR KNEES ¶
¶ 'CAUSE I'M THE QUEEN
 OF THE NIGHT ¶
¶ THE QUEEN OF THE NIGHT ¶
¶ OH, YEAH ¶
¶ OH, YEAH ¶
¶ OH, YEAH, YEAH ¶
ARE WE HAVING
A COMMUNICATIONS PROBLEM HERE?
WHAT?
I SAID, ARE WE HAVING
A COMMUNICATIONS PROBLEM HERE?
EXCUSE ME.
I NEED TO KEEP
 THIS AISLE CLEAR.
I KNOW YOU GOT
A JOB TO DO HERE.
YOU GOT TO UNDERSTAND
RACHEL HAS A JOB TO DO, TOO.
THAT'S WHAT SHE'S DOING,
FRANK...OUT THERE.
I MEAN, LOOK,
SHE'S SO HOT RIGHT NOW.
THIS IS HER TIME.
IF SHE DOESN'T GET OUT THERE,
SHE'S DEAD.
FORGET THE CRAZY
DEATH THREATS.
IF SHE DOESN'T SING,
SHE'S DEAD ANYWAY.
¶ OH, YEAH ¶
¶ OH, YEAH, YEAH ¶
HANDLED PROPERLY,
THIS WHOLE THING COULD BE GOOD
FOR $1 MILLION WORTH
OF FREE PUBLICITY.
ONE WORD IN PRINT
 ABOUT THIS, ABOUT ANYTHING.
¶ QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ OH, YEAH ¶
 ¶ OH, YEAH ¶
¶ OH, YEAH, YEAH ¶
¶ YOU GOT THE PROBLEM ¶
¶ IT'S THE WAY
 THAT I AM ¶
¶ THEY SAY I'M TROUBLE ¶
¶ AND I DON'T GIVE A DAMN ¶
¶ BUT WHEN I'M BAD,
 I'M GOOD ¶
¶ YES, I AM ¶
¶ I JUST WANNA GET LOOSE ¶
¶ AND TURN IT UP
 FOR YOU, BABY ¶
¶ I GOT THE STUFF
THAT YOU WANT ¶
¶ I GOT THE THING
 THAT YOU NEED ¶
¶ THING THAT YOU NEED ¶
¶ I GOT
MORE THAN ENOUGH ¶
¶ TO MAKE YOU
DROP TO YOUR KNEES ¶
¶ 'CAUSE I'M THE QUEEN
OF THE NIGHT ¶
¶ THE QUEEN
 OF THE NIGHT ¶
¶ OH, YEAH ¶
¶ OH, YEAH ¶
¶ OH, YEAH, YEAH ¶
¶ OH, YEAH ¶
OH!
AAH!
AAH! AAH!
COME ON,
 OUT OF THE WAY!
TONY!
I'LL TAKE CARE OF THIS.
FOLLOW ME!
WHERE'S THE FUCKING LIMO?
Frank: GO!
[HORN HONKS]
HENRY, IT'S ME, SY!
STOP IT!
FUCK!
Frank:
KEEP DRIVING, HENRY.
NEVER DONE THAT BEFORE.
IT'S BEEN
A LONG NIGHT.
[SNIFFS]
DON'T YOU WANT TO KNOW WHY
I BEHAVE THAT WAY?
I KNOW WHY.
I DON'T WANT TO TALK
ABOUT THIS AGAIN.
HEY, GOTCHA, DIDN'T I?
BET YOU'RE WONDERING
WHAT I'M DOING, RIGHT?
OOH!
DIDN'T KNOW I JOGGED,
DID YOU?
WHAT? YOU AFRAID
I MIGHT GET PICKED OFF
IN MY SNAZZY RUNNING SUIT?
NO, I'M AFRAID I MIGHT
 HAVE TO JOG WITH YOU.
WILL YOU WALK WITH ME
A LITTLE?
LOOK, I KNOW
THIS IS KIND OF LATE,
BUT THANK YOU.
I'M REALLY GLAD
YOU'RE HERE,
AND I'M GOING TO TRY
TO COOPERATE.
THAT WOULD BE GOOD.
FARMER,
I HAVE THIS PROBLEM...
THIS MINOR LITTLE PROBLEM,
YOU SEE?
I LIKE TO GO OUT
FOR AN EVENING, YOU KNOW,
WITH A GUY, YOU KNOW,
LIKE A DATE...
BUT I CAN'T GO OUT
ON A DATE
BECAUSE YOU HAVE TO
BE WITH ME EVERY MINUTE.
I MEAN,
WHAT IF HE WANTS
TO INVITE ME
UP TO HIS PLACE AFTERWARDS?
ARE YOU GONNA COME,
TOO?
SO...THE ONLY THING
I CAN FIGURE...
IS FOR YOU
TO TAKE ME OUT.
THAT'S WHAT
I WAS WONDERING...
YOU KNOW?
I MEAN,
WHAT DO YOU THINK?
ONLY IF YOU WANT TO.
ONLY IF YOU WANT TO.
Nicki: RACHEL!
GOD, THIS IS
SO EMBARRASSING.
YOU DECIDE, OK?
YEAH?
SANDY HARRIS
 IS ON THE PHONE.
I'LL CALL HER BACK.
I'M GETTING FIXED UP HERE.
[FOOTSTEPS]
[SPEAKING JAPANESE]
WELL, HE DIDN'T LOOK LIKE
HE WANTED TO DIE TO ME.
THERE'S
 A BIG DIFFERENCE
BETWEEN
 WANTING TO DIE
AND HAVING NO FEAR
 OF DEATH.
AND SO BECAUSE
HE HAD NO FEAR OF DEATH,
HE WAS INVINCIBLE?
WHAT DO YOU THINK?
WELL, HE SURE CREAMED
THEM ALL IN THE END.
YEAH, IT WAS
 A GOOD MOVIE, HUH?
YEAH, IT WAS GOOD.
HOW MANY TIMES
HAVE YOU SEEN THAT MOVIE?
UH...62 TIMES.
62 TIMES?
GOSH.
I'VE SEEN IT
 A LOT.
YOU CAN SAY THAT.
I'VE SEEN IT A LOT.
[COUNTRY MUSIC PLAYS]
ANOTHER BEER, SIR?
NO. NO, THANKS.
YOUR KIND OF PLACE?
YEAH.
YOUR KIND OF MUSIC?
ABSOLUTELY, YEAH.
YOU FIGURE NO ONE CAN
 GET BY YOU HERE, HUH?
IF SOMEONE'S WILLING
TO SWAP HIS LIFE FOR A KILL,
NOTHING CAN STOP HIM,
RACHEL.
GREAT. WHAT DO I
 NEED YOU FOR?
HE MIGHT GET ME INSTEAD.
AND YOU'RE READY TO DIE
 FOR ME?
IT'S THE JOB.
AND YOU'D DO IT?
WHY?
CAN'T SING.
WELL, MAYBE THERE'S
 SOME GLORY
IN SAVING A PRESIDENT
 OR SOMEBODY,
BUT JUST ANYBODY?
YOU MEAN LIKE YOU?
YEAH, LIKE ME.
IT'S A MATTER
OF CONDITIONING AND DISCIPLINE.
I DON'T TRUST
 DISCIPLINE.
I KNOW, AT THAT
 CRUCIAL MOMENT,
I'D COP OUT.
IT HAPPENS.
MMM, BUT NOT TO YOU,
 FIERCE FRANK, HUH?
IT HAPPENS.
SO HAVE YOU EVER
 LIKED ANYBODY?
WHAT DO YOU MEAN?
LIKE ME. A GIRL.
YEAH, A LONG TIME AGO.
HMM, WHAT HAPPENED?
DO YOU MIND
 IF I ASK?
YOU MIND
IF I DON'T ANSWER?
I DON'T WANT TO PRY.
OH, YEAH,
I CAN SEE THAT.
WHAT?
SHE DIDN'T DIE,
 DID SHE?
WHILE YOU WERE
 PROTECTING HER,
SHE GOT KILLED, RIGHT?
GOD, THAT'S NOT IT,
 IS IT?
THAT'S IT, ISN'T IT?
NOBODY'S PERFECT.
I'M SORRY, FRANK.
I'M SORRY.
NO.
NICE TRY, THOUGH.
YOU...
FRANK.
IT WAS LESS DRAMATIC
THAN THAT.
SHE DIDN'T LOVE ME
ANYMORE.
CAN YOU IMAGINE THAT?
NO, NOT REALLY.
SO...IS THIS A FULL-SERVICE
 DATE, FRANK?
I'M JUST ASKING YOU
 TO DANCE.
COME ON.
YOU CAN DANCE,
 CAN'T YOU?
¶ BUT I KNOW ¶
¶ I'LL THINK OF YOU ¶
¶ EACH STEP
 OF THE WAY ¶
¶ AND I ¶
¶ WILL ALWAYS LOVE YOU ¶
¶ OH, I WILL ALWAYS
 LOVE YOU ¶
THIS IS KIND OF
 A COWBOY SONG, HUH?
YEAH.
¶ BITTERSWEET ¶
¶ MEMORIES ¶
¶ THAT'S ALL THAT I ¶
WHAT?
NOTHING.
 IT'S NOTHING.
WHAT?
I MEAN,
 IT'S SO DEPRESSING.
HAVE YOU LISTENED
 TO THE WORDS?
¶ WHAT YOU NEED ¶
IT IS KIND OF
 DEPRESSING.
YES, IT IS.
IT'S ONE OF THOSE
"SOMEBODY'S ALWAYS
 LEAVING SOMEBODY" SONGS.
YEAH.
[DISHES BREAK]
DON'T WORRY.
DON'T WORRY.
 I'LL PROTECT YOU.
¶ OH, I WILL ALWAYS
 LOVE YOU ¶
¶ OH, I WILL ALWAYS
 LOVE YOU ¶
IT'S VERY QUIET HERE.
SO YOU EVER
 GOING TO HANG THESE UP?
MAYBE WHEN I'M HERE
LONG ENOUGH.
"WEST VIRGINIA
 UNIVERSITY FOOTBALL."
GOD,
 TAKE A LOOK AT YOU.
WHAT DID YOU PLAY?
END.
WERE YOU TOUGH?
NO, I WAS FAST.
SO YOU WERE
 IN THE SECRET SERVICE.
WHAT MADE YOU GET OUT?
MONEY.
YEAH, I CAN SEE
 YOUR TASTES ARE EXTRAVAGANT.
MAY I?
YEAH.
BE CAREFUL.
SWOOSH. SWOOSH.
 SWOOSH.
YOU'RE A HARD ONE
TO FIGURE OUT,
 FRANK FARMER.
A BODYGUARD MUST KNOW
 VERY LITTLE PEACE.
WATCH THIS.
I'VE NEVER FELT
THIS SAFE BEFORE.
NO ONE COULD
GET BY YOU.
RIGHT NOW IT MIGHT NOT
 BE TOO DIFFICULT.
WHAT ARE YOU DOING?
FRANK?
I DON'T WANT
 TO GET CONFUSED
ABOUT WHAT
 I'M DOING HERE.
I'M NOT CONFUSED.
YOU PAY ME
 TO PROTECT YOU.
THAT'S WHAT I DO.
HAVE I DONE
SOMETHING WRONG?
NO.
NOTHING.
THEN WHAT IS IT?
DO YOU WANT ME
TO BEG?
NO.
WHAT'S GOING ON,
FRANK?
I WANT TO KEEP IT
 STRAIGHT IN MY HEAD
WHAT JOB I'M DOING.
AND WHAT IS THAT, EXACTLY?
MAKING ME FEEL LIKE SHIT?
NO.
I'M SORRY.
 THIS IS MY FAULT.
DON'T APOLOGIZE,
FOR GOD'S SAKE.
TELL ME WHAT I DID.
I'M A BIG GIRL.
YOU DIDN'T
 DO ANYTHING.
IT WAS ME.
I GOT INVOLVED
 WITH MY CLIENT.
YOUR CLIENT?
I MADE A MISTAKE.
YOUR CLIENT?
SO YOU'RE NOT ATTRACTED
TO YOUR CLIENT ANYMORE?
OH, CHRIST,
 I TOLD YOU WHY. I--
I CAN'T...I CAN'T
 PROTECT YOU LIKE THIS.
SO THAT'S IT FOR ME?
THAT'S IT?
YEAH.
WELL, I DON'T
BELIEVE IT!
YOU CAN LIVE WITH IT
 OR FIRE ME.
BUT I CAN'T FUCK YOU.
SHE'S REAL MAD
AT YOU, ISN'T SHE?
SHE TOLD ME
SHE DOESN'T UNDERSTAND
WHY YOU'RE BEING
SO SHITTY TO HER.
I DON'T LIKE IT WHEN
 YOU USE THAT LANGUAGE.
I SPENT A LOT OF TIME
LEARNING
 NOT TO REACT TO THINGS
LIKE OTHER PEOPLE DO.
THAT'S MY JOB.
BUT IT DOESN'T
 ALWAYS WORK.
IT DOESN'T ALWAYS WORK.
I DON'T THINK
I UNDERSTAND.
I'M AN OLD MAN
 COMPARED TO YOU, PAL,
AND I DON'T
 UNDERSTAND EITHER.
I'M STARTING
 TO GET THE FEELING
THAT I NEVER WILL.
TA-DA!
THOUGHT YOU'D
 LIKE TO KNOW.
EVERYONE SAID
 SHE WAS A SURE THING.
BUT, OF COURSE,
 YOU ALREADY KNEW THAT.
I AM SORRY.
IT'S COMPLETELY
 OUT OF LINE.
IT'S NONE
 OF MY BUSINESS.
COME ON, BUDDY. LET'S GO.
[ENTERTAINMENT TONIGHT
 THEME PLAYS]
John Tesh:
 IT'S OFF TO MIAMI TODAY
FOR BEST ACTRESS NOMINEE
 RACHEL MARRON.
SHE WILL GIVE
 TWO AIDS CHARITY CONCERTS
AT THE GLAMOROUS
 FONTAINEBLEAU HILTON.
1,000 A PLATE, NO LESS,
AND IT'S A BRAVE MAN
 WHO'D DENY
THE LOVELY LADY
 WAS WORTH EVERY CENT.
Woman on two-way radio:
 ROGER, 12. 14 SAYS...
Man: THIS IS MOBILE 1
TO STATION 2.
0-2, ENGINEERING.
HAVE THEM DO
A 14 REFERENCE
TO PRESIDENTIAL SUITE
BALCONY RIGHT AWAY.
IT'S OK.
THEY'RE CLEAR.
MOBILE 2
 TO CATERING.
SECURITY REQUESTS
 MAIN KITCHEN AISLE
TO BE KEPT FREE
 OF ALL OBSTRUCTIONS
ON TROPIGALA
 STAGE LEVEL,
EFFECTIVE IMMEDIATELY.
MOBILE 2
TO FRONT OF HOUSE.
SECURITY REQUESTS UPDATED
LIST OF ALL TICKET HOLDERS
FOR RACHEL MARRON CONCERT.
PLEASE FAX COPIES OF ANY NAMES
WHICH WERE ADDED TO THE LIST
TO SECURITY CENTRAL OFFICE
AS SOON AS POSSIBLE.
WHAT A SILLY JOB
 THIS IS.
Man: OK,
 WE'RE ROLLING.
SHOW TIME,
 EVERYBODY.
IS THIS REALLY
NECESSARY?
YES, IT IS
 LET'S GO.
QUIT BITCHING, FARMER.
THIS IS THE PART
YDO GET PAID FOR.
COULD YOU GIVE US
 A MINUTE?
HOW DO YOU LIKE
 OUR CITY?
OH, I LOVE IT.
I LOVE MIAMI.
¶ TAKE MY LOVE ¶
¶ I'LL NEVER ASK
 FOR TOO MUCH ¶
¶ JUST ALL THAT YOU ARE ¶
¶ AND EVERYTHING
 THAT YOU DO ¶
¶ I DON'T REALLY
 NEED TO LOOK ¶
¶ VERY MUCH FARTHER ¶
¶ I DON'T WANT
 TO HAVE TO GO ¶
¶ WHERE YOU DON'T FOLLOW ¶
¶ I'M HOLDIN' BACK AGAIN ¶
¶ THIS PASSION INSIDE ¶
¶ I CAN'T RUN
 FROM MYSELF ¶
¶ THERE'S NOWHERE TO HIDE ¶
¶ YOUR LOVE I'LL REMEMBER
 FOREVER ¶
¶ DON'T MAKE ME CLOSE
 ONE MORE DOOR ¶
¶ I DON'T WANT
 TO HURT ANYMORE ¶
¶ STAY IN MY ARMS ¶
¶ IF YOU DARE ¶
¶ OR MUST I
 IMAGINE YOU THERE? ¶
¶ DON'T WALK AWAY FROM ME ¶
¶ I HAVE NOTHING ¶
¶ NOTHING ¶
¶ NOTHING ¶
¶ DON'T MAKE ME ¶
¶ CLOSE ¶
¶ ONE MORE DOOR ¶
¶ I DON'T WANNA
 HURT ANYMORE ¶
¶ STAY IN MY ARMS ¶
¶ IF YOU DARE... ¶
DID YOU ARRANGE
 ALL THIS?
MM-HMM.
HEY, HEY. THAT'S ME.
HELLO, FRANK.
PORTMAN.
BEEN A LONG TIME.
YOU ON THE JOB?
YEAH, WELL...
TECHNICALLY,
 I'M OFF DUTY,
BUT THE GOVERNOR MIGHT
 SHOW UP HERE LATER,
SO I THOUGHT I'D GIVE
 IT A LIGHT CHECK.
SOMEONE ELSE IS
 COVERING HIM RIGHT NOW.
HOW OLD'S SHE?
MAYBE 18.
[APPLAUSE]
Rachel:
 THANK YOU. THANK YOU.
THANK YOU SO MUCH.
LISTEN, YOU'RE SO RIGHT.
SO RIGHT.
I WANT YOU ALL
 TO HAVE A GOOD TIME
AND DRINK AS MUCH
 OF BEN SCHILLER'S LIQUOR
AS YOU POSSIBLY CAN.
THANK YOU.
WELL, I'D CALL THAT
A STEP UP
 FROM THE PRESIDENT.
PROBABLY SINGS
 BETTER, TOO.
A HANDFUL...
OH, YEAH.
LOST TRACK OF YOU
 AFTER THE REAGAN THING.
YEAH.
WASN'T YOUR FAULT,
 FRANK.
YOU WEREN'T EVEN
 THERE.
I NEED A DRINK.
OOH!
THAT'S ORANGE JUICE.
SO, WHO ARE YOU?
GREG PORTMAN.
I TAKE IT YOU'VE MET
MY BODYGUARD.
WE USED TO WORK
 TOGETHER.
OH.
OH, WELL, WELL.
SO WHAT DO YOU
DO NOW?
SAME THING AS FARMER.
OH, TWO SAMURAI, HUH?
SO, ARE YOU WORKING NOW?
NOT RIGHT NOW.
GOOD.
BECAUSE I'M THE ONLY PERSON
IN THIS ROOM
THAT NEEDS PROTECTION.
LET'S GO GET
 A DRINK.
A REAL ONE.
ORANGE JUICE, SIR?
I'VE BEEN WATCHING YOU
 ALL NIGHT
FROM ACROSS THE ROOM.
WHY DON'T YOU
GO BACK THERE
AND KEEP WATCHING?
NO.
NO, I'M NOT DOING THIS.
I THINK YOU ARE.
NO.
NO!
PLEASE GO NOW.
NOT RIGHT NOW.
TONY.
MR. PORTMAN WAS
 JUST LEAVING US.
GOOD NIGHT, RACHEL.
SHIT.
WHAT ARE YOU
 LOOKING AT?
YOU PROBABLY NEVER
 HAD A HEAVY NIGHT
IN YOUR WHOLE DAMN
 DISCIPLINED LIFE.
OHH.
COFFEE?
YOU KNOW, FARMER,
YOU'RE A SELF-RIGHTEOUS
 SON OF A BITCH.
AND DON'T LAUGH AT ME.
 DON'T YOU DARE JUDGE ME!
OH, GIVE ME A BREAK,
 WILL YA?
I MEAN, I DIDN'T
 TELL YOU TO FUCK
EVERYBODY
 IN THE HOTEL.
FUCK THIS. I DON'T NEED
 THIS SHIT FROM YOU.
INDUSTRIAL DETERGENT,
 FRANK.
IT MATCHES THE TRACES
 IN THE GLUE.
WE'RE GETTING TO HIM.
WE'RE GOING
 TO NAIL THIS SUCKER.
DON'T TAKE TOO LONG,
ALL RIGHT?
FRANK, IT IS GOOD MONEY,
 ISN'T IT?
YEAH, IT'S GOOD MONEY.
RACHEL?
WHERE IS SHE?
I DON'T KNOW.
WHERE'S TONY?
I DON'T KNOW.
I THOUGHT YOU
 WERE WITH HER.
THURINGER,
 THIS IS FARMER.
WHERE'S YOUR MAN
 AT THE DOOR?
THE DOOR
 TO THE SUITE.
WHERE IS HE?
GET SOMEBODY
 UP HERE NOW.
HE DOESN'T KNOW.
WHERE YOU GOING?
HI, BILL.
RACHEL, WHERE IN
 THE HELL HAVE YOU BEEN?
I WENT TO BAL HARBOUR
FOR A LITTLE SHOPPING.
Tony: YOU WANT THESE
 IN THE BEDROOM, RACH?
Rachel: NO,
LEAVE THEM RIGHT THERE.
I WANT TO TAKE A LOOK
AT THEM.
Bill:
 YOU HAD US WORRIED.
YOU KNOW YOU'RE NOT
 SUPPOSED TO DO THAT.
BILL, I'LL DO WHAT I WANT
 WHEN I WANT.
BESIDES...
I'M TIRED OF HANGING AROUND
 A BUNCH OF DEADBEATS.
NO OFFENSE, TONY.
ONE MORE TIME,
AND I'M GONE.
YOU REMEMBER SOMETHING,
 FARMER.
YOU WORK HERE.
 YOU WORK FOR ME.
RACHEL.
WHERE YOU GOING,
FARMER?
I'M GOING TO CHECK
 THE ROUTE, AS USUAL.
DID FLETCHER CALL?
GOMEZ!
LOUIS GOMEZ!
WHAT ARE YOU DOING?
IT'S NONE OF YOUR
 FUCKIN' BUSINESS.
MOVE IT.
WHY DON'T YOU STICK IT
 UP YOUR ASS, HUH?
STOP! STOP!
DON'T HURT MY HUSBAND!
PLEASE DON'T HURT
 MY HUSBAND!
PLEASE DON'T HURT
 MY HUSBAND.
HE NO DO NOTHING.
[CRYING]
OH, PLEASE, MISTER,
 PLEASE.
I'M SORRY.
[RING]
HELLO.
MOMMY?
FLETCHER, BABY,
 IS THAT YOU?
NO-O-O-O.
NO-O-O-O.
FRANK.
LISTEN. UH...
I'M THROUGH, BILL.
WHAT?
I SAID I'M THROUGH.
I'LL GET YOU BACK
 TO L.A. AND THAT'S IT.
THE GUY WITH FLETCHER
 CAN COVER YOU
TILL YOU GET
 A REPLACEMENT.
SHE GOT A CALL
WHILE YOU WERE DOWNSTAIRS.
I DON'T CARE.
IT WAS HIM, FRANK.
SAME GUY.
IT REALLY SHOOK HER UP.
SHE THOUGHT
 IT WAS FLETCHER
CALLING FROM L.A.
SHE'LL BE REASONABLE NOW.
COME ON!
SAVE IT, DEVANEY!
THE PEOPLE WHO HIRE ME,
THEY DON'T HAVE
 TO BE CONVINCED
TO SAVE
 THEIR OWN LIVES.
CALL ME WHEN SHE'S
 READY TO GO DOWN.
FRANK?
FARMER, NOTHING
 THAT'S HAPPENED
BETWEEN US MATTERS.
I UNDERSTAND NOW.
AND YOU'RE GOING TO
 HAVE TO BELIEVE ME,
BECAUSE I'M NOT
 GOING TO BEG.
IT WASN'T WHAT HE SAID.
IT WAS
 THE WAY HE SAID IT.
FRANK, I NEED YOU.
 I'M AFRAID.
AND I HATE MY FEAR.
PLEASE PROTECT ME.
 PROTECT FLETCHER.
IF ANYTHING EVER
 HAPPENED TO HIM, FRANK--
I CAN'T.
I CAN'T...
I CAN'T PROTECT YOU
LIKE THIS.
IT'S, UH...
IT'S IMPOSSIBLE.
THE ODDS ARE ALL ON HIS SIDE.
I WILL DO
 WHATEVER YOU SAY.
HA HA HA HA.
I'D WANT TO TAKE YOU
AWAY FROM HERE
FOR A WHILE.
ALL RIGHT.
 I CAN DO THAT.
IT WOULD MEAN CANCELING
THE REST OF YOUR
CONCERT DATES.
ALL RIGHT.
NO MORE SY.
YOU GIVE DEVANEY AND TONY
A VACATION.
OK.
ALL RIGHT.
YOU CROSS ME UP THIS TIME,
RACHEL,
I SWEAR I'LL KILL YOU MYSELF.
[ARF ARF]
[ARF]
LAKE'S A LITTLE LOW.
IT'LL RISE
 WHEN IT THAWS.
THEY ALL IN TROUBLE?
HA HA. J-JUST ONE.
[CONVERSATION]
SAY HELLO TO HIM.
HEY, HE LIKES YOU,
 FLETCHER.
SO, IS THAT
GOING TO PROTECT US?
YEAH, HE'S, UH,
HE'S A TRAINED
 NOISEMAKER.
COME HERE, FOSTER.
TERRIFIC.
JUST WHAT WE NEED.
I DON'T LIKE
 BIG DOGS.
THEY DON'T KNOW
 WHO THEY'RE EATING.
OH, AND THIS ONE DOES?
YEAH, THIS ONE DOES.
[GRRR]
 GRRR!
GRRR.
EXCUSE ME.
KATHERINE HAD THIS PLACE
ORGANIZED
JUST THE WAY
SHE WANTED IT.
THAT'S FRANK'S MAMA.
Frank:
 COME ON, PULL IT.
YOU KNOW, FLETCHER
 CAN'T SWIM VERY WELL.
I GUESS HE BETTER
STAY IN THE BOAT, THEN.
TRY AGAIN.
WANT ME
 TO PULL WITH YOU?
FRANK TELLS ME
YOU'RE A SINGER.
YEAH, THAT'S RIGHT.
YEAH, WELL, UH...
WE'RE KIND OF
OUT OF THINGS UP HERE.
I'M SORRY.
THAT'S OK.
YOU MUST BE VERY SUCCESSFUL
IF YOU NEED SOMEONE
LIKE FRANK.
IT'S VERY QUIET HERE.
FRANK SPENT SIX MONTHS
UP HERE
AFTER THAT REAGAN THING.
THE REAGAN THING?
FRANK WASN'T THERE
THE DAY REAGAN WAS SHOT.
HE'S NEVER
GOTTEN OVER IT.
THAT'S, UM...
THAT'S THE DAY
WE BURIED KATHERINE.
HE'S A REAL RASCAL NOW.
TELL US.
Father:
 I NEVER HIT HIM, EVER.
YOU SHOULD'VE.
THAT'S VERY UNUSUAL
 FOR MY PEOPLE.
SO WHAT HAPPENS,
HE'S ABOUT 10 YEARS OLD,
HE COMES TO ME,
 AND HE STARTS COMPLAINING.
DAD, I'M GOING TO
TELL ABOUT THE TIME
YOU STRIPPED IN COURT.
OH, WOW!
YEAH!
I DON'T MIND.
 I'M PROUD OF THAT.
SO, ANYWAY...
HE STARTS PLAYING
 TACKLE FOOTBALL
WHEN HE'S
 10 YEARS OLD,
AND ONE DAY HE COMES
 TO ME AND HE SAYS
HE'S AFRAID
 OF BEING HIT.
SAYS IT'S MY FAULT.
"HOW COME
 YOU NEVER HIT ME?"
HE SAYS TO ME.
HOW ABOUT THAT, HUH?
HE GOT OVER IT.
TURNED INTO ONE HELL OF
 A WIDE RECEIVER.
HE WAS ALWAYS LIKE THAT,
 MY SON.
COULDN'T STAND BEING AFRAID.
IF SOMETHING SCARED HIM,
HE'D JUST KEEP DOING IT
 UNTIL THE FEAR WENT AWAY.
HIS MAMA WAS THE SAME WAY.
YOU HAVE
 A BEAUTIFUL FAMILY.
YOU HAD ENOUGH
TO EAT?
FLETCHER,
 WIPE YOUR MOUTH.
SAVE SOME FOR DESSERT.
YOU THROUGH,
BUCKET MOUTH?
I WON'T TELL THEM
 ABOUT WHEN YOU WERE 13
AND FIRST FOUND OUT
 ABOUT GIRLS.
HE CAME HOME ONE NIGHT...
COME ON, FRANK.
YOU CAN RUN,
BUT YOU CAN'T HIDE.
[LAUGHING]
ALL RIGHT.
SO I'M...BLACK,
RIGHT?
UH-UH!
 DON'T TOUCH THAT.
YOU KNOW YOU'RE WHITE.
 IT'S YOUR MOVE.
IT'S MY MOVE?
YOU'RE SURE?
THE LAST MOVE,
I TOOK YOUR ROOK
 WITH MY BISHOP.
THAT'S RIGHT.
HOW LONG HAS THIS
 BEEN GOING ON?
THREE YEARS.
FIRST YEAR HE REALLY
 HAD ME ON THE RUN.
WHAT DO YOU THINK?
KNIGHT TO KING 4.
CITY KID.
SON, YOU COME HERE
 AND SIT WITH ME.
WELL, THAT'S IT FOR ME,
 GUYS.
I'M TIRED.
 I'M GOING TO BED.
YOU'RE IN TROUBLE.
YEAH, WELL...
FOSTER, RIGHT HERE.
TURN AROUND.
GOOD BOY.
GOOD NIGHT, RACHEL.
GOOD NIGHT, FRANK.
GOOD NIGHT, FOSTER.
IT'S GOOD
TO HEAR YOU LAUGH.
STAY.
YOU'RE VERY THOROUGH.
WHAT'S HAPPENING
WITH YOU AND RACHEL?
COME ON. ONE MINUTE
 SHE HAS MAGNETIC HANDS,
AND THE NEXT,
 SHE HATES YOU.
I DON'T KNOW WHAT'S
 GOING ON RIGHT NOW.
YOU FOLLOW ALL HER
 MOVES THIS CLOSELY?
IT'S A LIVING.
NO, IT'S NOT.
YOU MUST THINK MY LIFE'S
PRETTY SICKLY, DON'T YOU?
NO.
YOU MUST.
I DO.
THEN WHY DON'T YOU
 CHANGE IT, NICKI?
IS IT THAT EASY?
HMM?
YOU'RE A LOVELY WOMAN.
BUT YOU DON'T WANT ME.
I'M SURPRISED. THOROUGH
FELLOW LIKE YOURSELF.
WHY STOP AT ONE SISTER
WHEN YOU COULD HAVE
FUCKED THEM BOTH?
I MAKE MY MISTAKES.
LOOK, YOU DIDN'T SAY NO
TO THE BOSS.
IS THIS ELK?
NOPE.
A DEER?
YEP.
FELLA'S BIG.
¶ JESUS LOVES ME ¶
¶ YES, JESUS LOVES ME ¶
FIRST TIME I'VE
 HEARD CHURCH MUSIC
IN THE MIDDLE
 OF THE WEEK.
¶ FOR THE BIBLE ¶
¶ TELLS ME SO ¶
¶ JESUS LOVES ME ¶
¶ OH, YES, HE DOES ¶
¶ JESUS LOVES ME ¶
¶ OH, YES, HE DOES ¶
¶ JESUS LOVES ME ¶
¶ OH, YES, HE DOES ¶
¶ FOR THE BIBLE ¶
¶ TELLS ME SO ¶
HEY, KIDDO.
HEY, HONEY.
WHERE'S FLETCHER?
FLETCHER!
FLETCHER! SHIT!
FLETCHER!
FLETCHER, NO!
FLETCHER!
FLETCHER!
HELP!
HE CAN'T SWIM!
FLETCHER!
HELP!
FLETCHER!
HELP!
COME ON, SON.
LET ME HAVE HIM!
LET ME HAVE HIM!
FLETCHER!
OH, CHRIST, FRANK.
HERE, FRANK.
JESUS.
WHAT WERE YOU DOING?
FRANK, YOU'RE CRAZY!
YOU'RE OUT OF YOUR MIND!
YOU COULD HAVE
DROWNED HIM, FRANK!
I'M SORRY.
I GOT CARELESS.
HOW WILL WE GET
THE BOAT BACK?
PUT THEM IN THERE.
 DOESN'T MATTER.
SOMEONE'S CUT
THE PHONE LINES.
COULD BE ANYWHERE
BETWEEN HERE AND TOWN.
BOTH THE CARS
 ARE DEAD.
I CAN'T SEE
 HOW IT WAS DONE.
HENRY?
WHO COULD HAVE KNOWN
YOU'RE HERE?
I DON'T KNOW.
THIS PLACE HAS NOTHING
 TO DO WITH HER.
MAYBE IT'S GOT SOMETHING
TO DO WITH YOU.
WE CAN'T WALK OUT OF HERE
AT NIGHT WITH THEM.
I KNOW.
LET'S BUTTON DOWN
 TONIGHT.
WE'LL WALK OUT
 AT FIRST LIGHT.
[BREATHING]
I WAS AN IDIOT
 LAST NIGHT.
SO, WHAT DID YOU
 THINK ABOUT TODAY?
I THINK
THIS IS NO MANIAC.
HE KNOWS
WHAT HE'S DOING.
YOU'RE RIGHT. HE DOES.
TELL ME ABOUT HIM.
WHO IS IT, NICKI?
HE ALMOST
 GOT FLETCHER.
HOW DO WE STOP HIM?
HE ALMOST GOT
 THE BABY.
WHO IS IT?
I DON'T KNOW.
CALL IT OFF.
HE DOESN'T EVEN KNOW
 WHO HIRED HIM.
I DON'T KNOW
 WHO HE IS.
HE DOESN'T KNOW
 WHO I AM.
ALL RIGHT.
HOW DID YOU DO IT?
I WENT--
HOW?
I WENT TO A BAR
 IN EAST L.A.
I ASKED AROUND.
THERE WAS THIS GUY--
NAME.
I WANT A NAME!
ARMANDO.
HE ARRANGED IT.
 THAT'S ALL I KNOW.
IT'S ALL PAID FOR?
IS IT ALL PAID FOR?
AND THEN SOME, OK?
TILL IT'S DONE.
HE KEEPS GOING
UNTIL HE KILLS HER?
YEAH.
YES.
WHAT'S THE NAME
OF THE BAR?
I'M NOT SURE.
I WAS VERY STONED.
ALL RIGHT. ALL RIGHT.
HOW ABOUT THE LETTERS?
THE LETTERS CAME FIRST.
I DON'T KNOW WHO'S
 WRITING THE LETTERS.
SHIT, THEY'RE
 READING MY MIND.
THOSE ARE MY THOUGHTS.
I HATE HER.
IT MADE ME THINK
 I COULD DO IT,
BUT I WOULD NEVER
 HURT THE BABY.
I WOULD NEVER HURT
 FLETCHER.
I KNOW.
YOU GOT TO STOP IT.
WE WILL.
WE WILL.
YOU AND ME.
OK.
OK.
OK.
FRANK, DON'T YOU EVEN
 WANT TO KNOW WHY?
YOU TOLD ME.
SHE HAS EVERYTHING.
[FOSTER GROWLS]
SO WHAT IF WE CAN'T
 FIND THIS GUY--
SHH. SHH.
STAY HERE AND DON'T MOVE.
[GRRR]
GOD!
 IT'S ME!
WHAT'S HAPPENING?
STAY WITH RACHEL.
NO! NO! STOP!
 I'M THE ONE WHO PAID--
DAD?
WE'RE ALL RIGHT.
IT DOESN'T MAKE
ANY SENSE, FRANK.
WHAT DO YOU MEAN?
WE ALREADY GOT HIM.
WHERE?
HERE.
LAST NIGHT IN L.A.
YOU SHOULD SEE
THIS GUY'S LOCKER.
HE'S OBSESSED WITH HER.
YOU SURE IT'S HIM?
FORENSICS SAY
A 100% POSITIVE I.D.
AND HE'S GOT
A BLACK TOYOTA 4x4.
RAY'S WITH HIM NOW.
IT'S YOU THAT SENT HER
THE LETTERS, OK?
WE DON'T NEED YOU
TO ADMIT IT. WE KNOW.
NO! NO!
WHOEVER YOU GOT THERE
 WASN'T HERE LAST NIGHT.
THIS WAS...
 THIS WAS A PROFESSIONAL.
THIS IS CRAZY.
WHAT DO YOU
WANT TO DO, FRANK?
HOW LONG
 CAN YOU KEEP HIM?
TECHNICALLY, ALL HE'S DONE
IS WRITE SOME LETTERS.
48 HOURS MAXIMUM.
YOU KNOW THE DEAL.
I KNOW.
¶ JESUS LOVES ME... ¶
Reporter:
 STRINGENT SECURITY
SURROUNDED THE FUNERAL
 IN BEVERLY HILLS TODAY
OF MUSIC EXECUTIVE
 NICKI MARRON,
WHO WAS GUNNED DOWN
 LAST WEEK
BY AN UNKNOWN INTRUDER.
NICKI WAS THE ELDEST SISTER
OF ENTERTAINER
 RACHEL MARRON.
A SPOKESMAN FOR THE
OSCAR-NOMINATED ACTRESS SAID
SHE WAS DEVASTATED
 BY THE TRAGIC EVENT,
ADDING
 THAT IT CAST A PALL
OVER THE UPCOMING
 ACADEMY AWARD CEREMONIES.
IT'S NOT KNOWN
 IF MS. MARRON
WILL ATTEND THE OSCARS.
¶ FOR THE BIBLE ¶
¶ TELLS ME SO ¶
YOU OK, FRANK?
YEAH, FLETCHER, I'M OK.
HOW ABOUT YOURSELF?
I COULDN'T SLEEP.
IT WAS SO SCARY
JUST THINKING ABOUT IT.
DO YOU FEEL SCARED, FRANK?
EVERYBODY'S AFRAID
 OF SOMETHING.
THAT'S HOW WE KNOW
 WE CARE ABOUT THINGS--
WHEN WE'RE AFRAID
 WE'LL LOSE THEM.
WHAT ARE YOU AFRAID OF?
I THINK YOU SHOULD TRY
TO GO BACK TO SLEEP
 NOW, PAL, ALL RIGHT?
IS IT THE MAN
WHO KILLED NICKI?
ARE YOU AFRAID OF HIM?
NO.
THEN WHAT?
WHAT ARE YOU AFRAID OF?
I'M AF--
I'M AFRAID OF NOT...
BEING THERE.
IT'S LATE, FLETCHER.
WANT ME TO TAKE YOU
 UP TO YOUR ROOM?
NO.
DO YOU MIND IF I SIT DOWN?
NO.
IT ISN'T OVER YET, IS IT?
SO HE'LL COME AGAIN?
IT'S POSSIBLE.
AT THE OSCARS?
MAYBE.
YOU KNOW, WHEN I WAS BACK
IN SQUIRREL HILL,
I STARTED BETTING
MY FRIENDS 50 BUCKS EACH
THAT SOMEDAY
I'D WIN AN OSCAR.
SO YOU CAN UNDERSTAND
HOW IMPORTANT IT IS
FOR THEM TO SEE ME THERE
IF I WIN.
IF EVERY ONE OF THOSE
PIKERS COMES THROUGH,
IT COULD ADD UP
TO A LOT OF MONEY.
I DON'T KNOW, RACHEL.
IT'S...I THINK
 IT'S STILL DANGEROUS.
I DIDN'T GET
TO THIS PLACE IN MY LIFE
BY DOING THE SMART THING
EVERY TIME.
HOW ABOUT YOU,
FRANK FARMER?
OUT THERE ON THE EDGE.
HAVEN'T YOU DONE
SOMETHING IN YOUR LIFE
THAT JUST DIDN'T MAKE
MUCH SENSE
EXCEPT
SOMEWHERE INSIDE YOU,
IN YOUR STOMACH SOMEWHERE?
I KNOW YOU HAVE,
BECAUSE NOBODY
GETS GOOD WITHOUT IT,
AND I KNOW YOU'RE GOOD.
LOOK, I DON'T KNOW WHY
THIS IS HAPPENING TO ME...
BUT I KNOW
IT'S NOT YOUR FAULT.
AND I HOPE
YOU CAN HEAR ME,
BECAUSE THIS IS THE WAY
I SAY I'M SORRY.
SO I'M GOING TO THE OSCARS
AND SEE IF I WIN,
AND I'M NOT GOING TO WORRY
ABOUT IT AT ALL
BECAUSE I HAVE YOU
TO PROTECT ME, RIGHT?
THAT'S RIGHT.
THAT'S RIGHT.
JASON! JASON BOGARD,
 LADIES AND GENTLEMEN.
JASON BOGARD.
COMING OUT NOW...
BEN GLASS,
 LADIES AND GENTLEMEN.
BEN'S MOVING
 FROM TV TO MOVIES.
OH, IT'S ROBIN MILLER.
 ROBIN, OVER HERE.
Man on two-way radio:
 A-LIMOS 14, 27, 29.
MOVE UP TO ARRIVALS AREA.
WE'LL GO STRAIGHT BACK
 TO THE GREEN ROOM,
RIGHT, FRANK?
GOT THAT, TONY?
TONY KNOWS
WHAT HE'S DOING.
I WISH YOU GUYS
 WOULD RELAX A LITTLE BIT.
NOTHING BAD'S
 GOING TO HAPPEN, ALL RIGHT?
UNLESS I LOSE
 THE FUCKING AWARD.
JESUS, WHAT A CREW.
SCREW IT. I'M TIRED
 OF WORRYING ABOUT IT.
WHEN YOUR TIME IS UP...
IT'S UP.
RIGHT, FRANK?
YES, THIS COULD BE
 THE BIG MOMENT.
WHO IS THAT?
LET'S SEE.
 THAT LOOKS LIKE...
ONE OF OUR BIG BEST ACTRESS
 ACADEMY AWARD NOMINEES.
YES! YES! RACHEL!
RACHEL MARRON!
 RACHEL! RACHEL!
RACHEL! RACHEL!
RACHEL MARRON,
LADIES AND GENTLEMEN!
HOW ARE YOU?
I'M FINE. AND YOU?
VERY GOOD.
YOU LOOK LOVELY TONIGHT.
THEY LOVE YOU.
ISN'T THAT GREAT?
HOW ABOUT BEING
 THE QUEEN OF THIS NIGHT?
LET'S HOPE I'M THE QUEEN
 OF THIS NIGHT.
GOOD LUCK IN THERE.
RACHEL MARRON, EVERYBODY.
BILL! BILL!
SECURITY BRACELET
 CHECK. THANK YOU.
AND THE AWARD
FOR BEST ACHIEVEMENT
 IN SOUND GOES TO...
KAY COLVIN
 AND MYCHAL SMITH
FOR HOT AND COLD!
THANK YOU SO MUCH.
I WANT TO THANK
OUR PRODUCERS
KAREN GOLDEN
AND ED GORSUCH.
THANK YOU.
THERE'S A GAP--
 HOUSE LEFT,
ROWS DOUBLE "E,"
 DOUBLE "F."
GET ME SOME FILLERS.
HI, RACHEL.
 YOU LOOK BEAUTIFUL.
I NEED TO
 FILL YOU IN
ON SOME OF YOUR
 RESPONSIBILITIES.
ALL RIGHT, SKIP.
RIGHT NOW,
 IT'S BEST SOUND,
THEN ANOTHER SONG,
 THEN YOU.
AT PRECISELY 8:07,
YOU'LL BE PRESENTING
 WITH CLIVE HEALY.
THESE
 ARE YOUR LINES.
THE TELEPROMPTER'S
 STRAIGHT AHEAD
AND, WE PRAY,
 WORKING PERFECTLY.
THANKS, SKIP.
RACHEL, I UNDERSTAND
 IT'S MY GREAT HONOR
TO ESCORT YOU
 ONSTAGE TONIGHT.
YEAH, THAT'S RIGHT, CLIVE,
AND I DON'T LIKE IT ONE BIT
THAT YOU LOOK
SKINNIER THAN ME.
I WISH.
HOW'S THE HOLLYWOOD
 CRICKET TEAM DOING?
Woman on headset:
 COMING OUT OF COMMERCIAL
IN 5...4...3...2...
CUE MUSIC...
AND CUE ROBERT...
AND INTO
 ROBERT'S MONOLOGUE.
WELCOME BACK
 TO THE 67th ACADEMY AWARDS.
I HEARD THAT IN NEW YORK
 THE ECONOMY'S GOTTEN SO BAD
THAT THE MAFIA
 HAS LAID OFF FIVE JUDGES.
TONY?
I'M GOING TO LOOK AROUND.
THEN I'LL COME BACK FOR HER.
OKEY-DOKE.
AND HEY--
 NO MORE CARROTS.
DID YOU LIKE THE COUPLE
 THAT WON BEST SOUND?
EVER SEE A WOMAN WORKING
 ON SOUND LOOK LIKE THAT?
SHE MUST HAVE BEEN
 THE BOOM GIRL.
THE BA-DA-BING,
 BA-DA-BOOM GIRL THERE.
IF SHE'S WORKING SOUND,
 WHO'S LISTENING?
30 SECONDS
TO LIGHTING CHANGE.
HE WAS VERY ELOQUENT.
"THIS IS THE MOST
 HAPPIEST DAY OF MY LIFE."
HIS MOTHER WAS THE MOST
 PROUDEST OF HIM THEN, HUH?
GIVE HIM A
 20 SECONDS, PLEASE.
PORTMAN.
HEY, FRANK.
 HOW YOU DOING?
WHAT ARE YOU DOING HERE?
JUST ON THE JOB.
WHO?
HIM.
SHORT-TERM GIG,
BUT PROFITABLE.
10 SECONDS.
LISTEN, FRANK, I'M
 SORRY ABOUT MIAMI.
5...4...3...2...
CUE MUSIC...
AND CUE DANCERS.
¶ DON'T MAKE ME CLOSE
 ONE MORE DOOR ¶
WELL, BACK TO WORK.
PROBABLY SEE YOU AT
 THE GOVERNOR'S BALL.
¶ STAY IN MY ARMS
 IF YOU DARE ¶
¶ MUST I IMAGINE
 YOU'RE THERE? ¶
¶ DON'T WALK AWAY
 FROM ME ¶
NOT A BAD VOICE.
NOW, I WANT THAT BROAD
RUN OUT OF TOWN.
SHE'S GOT TO GO.
TONY, YOU THERE?
TONY, YOU THERE?
YEAH, FRANK. YEAH.
TONY,
 THIS IS THE NIGHT.
I THINK HE'S GONNA
 GO FOR HER
IN FRONT OF ALL
 THE CAMERAS.
THAT'S CRAZY.
THAT'S HOW
 HE WANTS IT TO LOOK,
EXCEPT HE ISN'T CRAZY.
 HE'S VERY CLEVER.
EXCUSE ME. EXCUSE ME.
YOU CAN'T USE THAT
 BACK HERE.
THE BREAKTHROUGH'S
 KILLING OUR RADIO MIKES.
I'LL HAVE
 TO DISCONNECT YOU.
ALL RIGHT.
 I SAID I'LL DO IT.
FRANK?
YOU'LL GET IT BACK
 RIGHT AFTER THE SHOW.
Skip: RACHEL? CLIVE?
WHAT'S WRONG?
WE'RE READY TO GO.
FRANK...
RACHEL, SHALL WE GO?
EXCUSE ME, GENTLEMEN.
IS THIS NECESSARY?
MUST WE HAVE EVERYONE?
WE HAVE OUR OWN MAN
AT THE DOOR.
NO. I WANT HIM.
FINE.
STAY ALERT.
COME, RACHEL.
LET US BRIGHTEN
 THIS FIRMAMENT.
¶ OH ¶
¶ YOU, YOU, YOU, YOU ¶
¶ YOU ¶
COMING THROUGH, PLEASE.
 COMING THROUGH.
TIME? HOW MUCH TIME?
RESETTING STAIRCASES.
RESETTING STAIRCASES.
SCENERY COMING IN.
HEADS UP, GUYS.
30 SECONDS
 TO LIGHTING CHANGE.
COMING THROUGH, PLEASE.
YOU'RE LOOKING BEAUTIFUL.
30 SECONDS. DON'T PANIC.
 CLEAR THIS AREA, PLEASE.
COMING RIGHT HERE.
STAND BY
CAPTION SUPERS.
GIVE 'EM
20 SECONDS, PLEASE.
OK, RACHEL.
 UP THE STEPS,
TO THE RIGHT,
 AND THROUGH.
CLIVE, UP THE STEPS,
TO THE LEFT,
 AND THROUGH.
YOU'LL MEET
 ON THE LANDING.
WATCH YOUR STEP
 GOING DOWN.
SOMEBODY SPILLED
 SOME WATER.
RACHEL?
SHALL WE?
DO TRY AND RELAX,
 RACHEL.
YOU MUST BE
 VERY EXCITED.
THANK YOU.
MOVING ON HERE.
TO PRESENT THE AWARD
 FOR BEST SONG,
HOLLYWOOD'S
 NEWEST ROYAL COUPLE.
HE IS ENGLAND'S
 KNIGHT IN SHINING ARMOR.
SHE IS AMERICA'S
 QUEEN OF THE NIGHT.
PLEASE WELCOME CLIVE HEALY
 AND RACHEL MARRON.
"WELL, RACHEL...
"I KNOW YOU ONLY CAME
 TO PRESENT THIS AWARD
AND WILL WANT TO LEAVE
 AS SOON AS WE'RE DONE."
[LAUGHTER]
"NO, CLIVE.
I'M VERY INTERESTED...
BEST ACTOR."
[LAUGHTER]
"OVER THE COURSE
 OF THE EVENING,
"WE'VE HEARD FIVE
 SMASHING SONGS
AND THE NAMES
 OF THEIR ARTISTS."
"NO MATTER WHAT
 ANYONE THINKS,
"I KNOW YOU HAVE NO
 PERSONAL FAVORITES.
"THE BEST SONG
 NOMINEES ARE--
"CLOCK ON THE WALL,
"FROM
 THE DINING ROOM TABLE,
BY DANA S. LEE
 AND SARAH SPRING."
[APPLAUSE]
"GIVE ME YOUR TRUST,
"FROM
 OUT OF THE GLOOM--"
[BEEPING]
"BY DAVID SIEGEL AND
 BARBARA G. GORDON."
[BEEPING]
"I HAVE NOTHING
"FROM QUEEN
 OF THE NIGHT,
BY NANCY GARBER."
[APPLAUSE]
"AND REFLECTIONS
 OF MY HEART
FROM HOT AND COLD
 BY LESLIE MORAES."
[APPLAUSE]
"LET'S FIND OUT...
WHO THE WINNER IS."
THE ENVELOPE.
RACHEL, SHALL
 I DO THE HONORS?
[LOUD BEEPING]
AND THE WINNER IS...
I HAVE NOTHING
 FROM QUEEN OF THE NIGHT.
MUSIC AND LYRICS
 BY NANCY--
SOMEBODY CHECK INTO...
SHE'S GOOD.
 NAH, SHE'S GOOD, FRANK.
[CONCERNED VOICES]
Rachel:
 I'M OK! I'M FINE!
I ALWAYS SAID
SHE WAS NUTS.
I'M OK, ALL RIGHT?
 FARMER!
YOU MADE ME INTO
 A RAVING LUNATIC!
15 SECONDS.
FOR GOD'S SAKE!
OK. I GOT YOU.
YOU OK?
YEAH!
10 SECONDS.
FUCKING ACTRESSES.
WHERE'S PORTMAN?
PORTMAN.
 WHO?
NEVER HEARD OF HIM.
THREE...
 AND YOU'RE ON.
IF YOU WANT TO BE
IN YOUR SEAT
FOR THE BEST ACTRESS AWARD,
YOU HAVE TO GO NOW.
I'M MOVING AS FAST
 AS I CAN.
YOU GO TWITCH
 SOMEWHERE ELSE!
HONEY, EVERYTHING'S FINE.
NO ONE NOTICED A THING.
EVERYONE IN THIS BUILDING
IS READY TO JUMP OUT OF
THEIR SKIN WITH NERVES.
BULLSHIT! YOU SAW ME.
FARMER'S MAKING ME
 INTO A FUCKING LUNATIC!
YOU'RE DRIVING HER CRAZY.
I KNOW WHO IT IS.
SHUT UP.
 WILL YOU SHUT UP?
SHUT UP!
YOU'RE A MANIAC!
YOU'VE EMBARRASSED ME
IN FRONT OF
BILLIONS OF PEOPLE,
AND YOU WON'T QUIT!
RACHEL, WAIT FOR FRANK.
THREE MINUTES--
YOU CALM THE FUCK DOWN!
Rachel: WELL,
IS HE COMING OR NOT?
TONY, I KNOW
 WHO IT IS.
WHO?
IT'S PORTMAN.
REMEMBER? THE GUY--
 THE GUY IN MIAMI.
OH, YEAH.
THE PENCIL-NECK.
IS ANYBODY
 COMING WITH ME?
AFTER TONIGHT,
 YOU'RE BACK IN CHARGE.
THIS GUY KNOWS
 NOTHING ABOUT SHOW BUSINESS.
TWO MINUTES
 TO BEST ACTRESS.
YOU'RE AN ASSHOLE.
HERE TO PRESENT
 THE BEST ACTRESS AWARD,
WE HAVE THE MAN WHO LAST YEAR
 RECEIVED OUR TOP HONOR
FOR HIS PERFORMANCE IN
 SOUTH OF WACO.
LADIES AND GENTLEMEN,
LET'S WELCOME MR. TOM WINSTON.
THANK YOU, ACADEMY.
TONY.
DID YOU SEE HIM?
NO. I NEED YOU
ON THE OTHER SIDE.
DOING WHAT?
YOU SEE THOSE PEOPLE
STANDING THERE?
THEY DON'T NEED
TO BE THERE.
MOVE THAT GUY
WITH THE CAMERA.
I'LL TAKE CARE OF IT.
"RACHEL MARRON
 FOR QUEEN OF THE NIGHT."
TONY! TONY!
AND...
WHAT ARE YOU
GOING THERE?
HEY, I SAID YOU!
OW!
"RACHEL MARRON!
 QUEEN OF THE NIGHT!"
GO TO COMMERCIAL!
HE'S GOT A GUN!
HE'S GOT A GUN!
RACHEL!
FRANK,
WHAT ARE YOU DOING?
PORTMAN!
PORTMAN!
LOOK OUT!
OH, MY GOD!
ONE OF US WANTS TO KNOW
 WHAT'S GOING ON.
SHE'S BLEEDING!
SHE'S BLEEDING!
IT'S NOT ME!
IT'S NOT ME!
HE'S MY BODYGUARD!
FRANK, FRANK...
NO, NO, NO!
FRANK, FRANK.
STAY WITH ME, FRANK.
STAY WITH ME.
COME ON, FRANK.
COME ON, COME ON.
GOD! HURRY UP!
COME ON, FRANK.
STAY WITH ME.
STAY WITH ME, BABY.
 STAY WITH ME.
LET THEM WORK.
 LET THEM WORK.
HEY, HEY, HEY!
HA HA!
HOW'S IT GOING?
IT'S UNDER CONTROL.
IT WON'T BE THE SAME
WITHOUT YOU.
HI, FRANK!
HOW YOU DOING,
 FLETCH?
YOU SHOULDN'T
BE HERE.
SO YOU'RE QUITTING
SHOW BUSINESS, HUH?
YEAH.
TOO BAD.
YOU HAD TALENT.
FLETCHER,
GO TO THE PLANE.
GO.
SO,
 HOW'S THE NEW GUY?
HE'S GOT WHITE HAIR,
FRANK.
HE'S VERY GOOD.
YEAH, BUT DID YOU HAVE TO
GET ME AN OLD MAN?
I DON'T TRUST YOU.
YEAH, WELL, LET'S GET
THIS OVER WITH, OK?
GIVE ME A KISS.
GOODBYE, RACHEL.
GOODBYE, FRANK.
¶ IF I ¶
¶ SHOULD ¶
¶ STAY ¶
¶ I WOULD ONLY
 BE IN ¶
¶ YOUR WAY-AY-AY ¶
¶ SO I'LL ¶
¶ GO ¶
YOU OK?
YEAH, I'M OK.
¶ BUT I KNOW ¶
¶ I'LL THINK OF YOU ¶
¶ EVERY STEP OF ¶
¶ THE WAY-AY-AY ¶
WAIT!
¶ AND I--I ¶
¶ I ¶
¶ WILL ALWAYS ¶
¶ LOVE YOU-OU-OU ¶
¶ I ¶
¶ WILL ALWAYS ¶
¶ LOVE YOU-OU ¶
¶ YOU ¶
¶ MY DARLING, YOU ¶
¶ BITTERSWEET ¶
¶ MEMORIES ¶
¶ THAT IS ALL ¶
¶ I'M TAKING ¶
¶ WITH ME-E-E ¶
¶ SO GOODBYE ¶
¶ PLEASE DON'T CRY ¶
¶ WE BOTH KNOW ¶
¶ I'M NOT WHAT YOU ¶
¶ YOU NEE-EE-EED ¶
¶ AND I--I ¶
¶ I ¶
¶ WILL ALWAYS
 LOVE YOU-OU-OU ¶
¶ I WILL ALWAYS ¶
¶ LOVE YOU-OU ¶
OUR SPEAKER THIS EVENING
HAS BEEN A LONE,
 COURAGEOUS VOICE.
HE ALONE
 HAS CHALLENGED THOSE
WHO HAVE LINKED
 ORGANIZED CRIME
WITH LEGITIMATE BUSINESS
 THROUGHOUT OUR STATE.
WELCOME, CONGRESSMAN.
FIRST OUR BENEDICTION
 WILL BE DELIVERED
BY THE REVEREND
 PHILLIP HARDY
OF THE FIRST PRESBYTERIAN
 CHURCH OF IOWA RAPIDS.
HEAVENLY FATHER,
PLEASE BLESS US
 TODAY
AS WE MEET IN
 FRIENDSHIP AND DUTY.
AND, LORD, WHATEVER
 DANGEROUS ENDEAVORS
THOSE AMONG US
 MAY TAKE,
LET THEM
 NEVER BE
WITHOUT
 YOUR SANCTUARY,
FOR WE ALL KNOW
 IN OUR HEARTS
THAT EVEN THOUGH
 WE MAY PASS THROUGH
THE VALLEY OF
 THE SHADOW OF DEATH,
YOU ARE WITH US,
GUIDING
 AND PROTECTING US.
AMEN.
¶ AND I--I--I ¶
¶ WILL ALWAYS
 LOVE YOU-OU-OU ¶
¶ I WILL ALWAYS ¶
¶ LOVE YOU ¶
¶ I WILL ALWAYS ¶
¶ LOVE YOU-OU-OU ¶
¶ I WILL ALWAYS
 LOVE YOU-OU-OU ¶
¶ I WILL ALWAYS ¶
¶ LOVE YOU-OU-OU ¶
¶ YES, I--I WILL ALWAYS ¶
¶ LO-O-O-OVE ¶
¶ YOU-OU-OU ¶
¶ YOU-OU ¶
¶ MY DARLING, YOU ¶
¶ YOU KNOW, YOU KNOW I DO ¶
¶ I'LL ALWAYS LOVE ¶
¶ YOU-OU-OU ¶
¶ I'VE GOT THE STUFF
THAT YOU WANT ¶
¶ I'VE GOT THE THING
THAT YOU NEED ¶
¶ I'VE GOT MORE
THAN ENOUGH ¶
¶ TO MAKE YOU
DROP TO YOUR KNEES ¶
¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶
¶ THE QUEEN OF THE NIGHT ¶
¶ OH, YEAH ¶
¶ OH, YEAH ¶
¶ OH, YEAH, YEAH ¶
¶ DON'T MAKE NO DIFFERENCE
 IF I'M WRONG OR I'M RIGHT ¶
¶ I'VE GOT THE FEELIN'
 AND I'M WILLIN' TONIGHT ¶
¶ WELL, I AIN'T
 NOBODY'S ANGEL ¶
¶ WHAT CAN I SAY? ¶
¶ WELL, I'M JUST THAT WAY ¶
¶ I'VE GOT THE STUFF
THAT YOU WANT ¶
¶ THE STUFF THAT YOU WANT ¶
¶ THE THING
THAT YOU NEED ¶
¶ THING THAT YOU NEED ¶
¶ I'VE GOT
MORE THAN ENOUGH ¶
¶ TO MAKE YOU
DROP TO YOUR KNEES ¶
¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGH¶
¶ QUEEN OF THE NIGHT ¶
¶ OH, YEAH ¶
¶ OH, YEAH, YEAH ¶
¶ JUST SAY IT, SAY IT,
 SAY IT ¶
¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ OH, YEAH ¶
¶ OH, YEAH ¶
¶ OH, YEAH ¶
¶ YEAH ¶
¶ YOU GOT A PROBLEM
 WITH THE WAY THAT I AM ¶
¶ THEY SAY I'M TROUBLE ¶
¶ AND I DON'T GIVE A DAMN ¶
¶ BUT WHEN I'M BAD
 I KNOW I'M BETTER ¶
¶ I JUST WANNA GET LOOSE ¶
¶ AND TURN IT UP ¶
¶ FOR YOU, BABY ¶
¶ 'CAUSE I'VE GOT
THE STUFF THAT YOU WANT ¶
¶ STUFF THAT YOU WANT ¶
¶ THE THING
THAT YOU NEED ¶
¶ I'VE GOT
MORE THAN ENOUGH ¶
¶ TO MAKE YOU
DROP TO YOUR KNEES ¶
¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ OH, YEAH ¶
 ¶ OH, YEAH ¶
¶ JUST SAY IT,
 SAY IT AGAIN ¶
¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶
¶ THE QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ OH, YEAH,
OH, YEAH ¶
¶ OH, YEAH ¶
¶ OH, YEAH ¶
BREAK IT DOWN.
¶ BABY ¶
¶ EE-EUW-YEAH ¶
¶ OH-OH-EE-EUW ¶
¶ I'VE GOT THE STUFF
THAT YOU WANT ¶
¶ THE STUFF THAT YOU WANT ¶
¶ THE THING
THAT YOU NEED ¶
¶ I'VE GOT
MORE THEN ENOUGH ¶
¶ TO MAKE YOU
DROP TO YOUR KNEES ¶
¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶
¶ THE QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ OH, YEAH ¶
¶ OH, YEAH, UH-UH ¶
¶ SAY IT AGAIN ¶
¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ QUEEN OF THE NIGHT ¶
¶ OH, YEAH,
OH, YEAH ¶
¶ OH, YEAH, YEAH ¶
¶ 'CAUSE I'M
THE QUEEN OF THE NIGHT ¶
¶ THE QUEEN OF THE NIGHT ¶
¶ OH, YEAH,
 OH, YEAH... ¶
CAPTIONING MADE POSSIBLE BY
 WARNER BROS.
CAPTIONED BY THE NATIONAL
 CAPTIONING INSTITUTE
 --www.ncicap.org--
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