JIMMY GATOR:「OC) Back again, again, again! I'm Jimmy Gator and believe it or not we are at the end of week seven, going towards eight for these three incredible kids --」
narrator:WHIP TO:
 INT. HOLIDAY INN SUITE - THAT MOMENT
 CAMERA pushes in on Frank who's babbling away about "Seduce and Destroy," (Director's Note) then WHIP over to Gwenovier and her video crew as they all listen.
JIMMY GATOR:「OC) -- who hello-hello, are just two days and two games from the "What Do Kids Now?" record for the longest winning streak in this shows thirty three year history --」
narrator:WHIP TO:
 INT. CLAUDIA'S APARTMENT - THAT MOMENT
 CAMERA pushes in on Jim Kurring then WHIP to Claudia as they talk and he snoops, etc. (Director's Note: Ref. note pages)
JIMMY GATOR:「OC) We're endorsed by the PTA and the North American Teacher's Foundation and we are try and do our best to hold standards high -- that's why we're the longest running quiz show in television history --」
narrator:WHIP TO:
 INT. SMILING PEANUT - THAT MOMENT
 CAMERA WHIPS from the TELEVISION above the bar which is playing the quiz show and pushes over Donnie, staring at the monitor. He shots another Tequila.
JIMMY GATOR:「OC) And let me say: With these three kids right here, I wouldn't be surprised if we've got a while to go, but today is a dangerous day --」
narrator:WHIP TO:
 INT. SHERMAN OAKS PHARMACY - THAT MOMENT
 CAMERA whips a ZOOMS in slow on Linda, holding her temper as the Pharamcy guy suspiciously glance at her and make a call or two to check on her perscriptions.
JIMMY GATOR:「OC) -- for I have met the three adult challengers backstage and they are quite a challenge for our youngsters -- SO LET'S GET THIS GAME OFF AND AWAY, EH?」
narrator:WHIP TO:
 INT. JIMMY GATOR'S HOUSE - THAT MOMENT
 CAMERA pushes in on ROSE as she watches her husband.
JIMMY GATOR:「OC) Let's jump right in, quick re-cap for those who don't know: Round One. Three Categories.」
narrator:WHIP TO:
 INT. POLICE STATION - THAT MOMENT
 CAMERA pushes in on MARCIE who's being processed and finger printed/ questioned. Two DETECTIVES nearby/OC throughout. A small portable TELEVISION in the b.g., plays the show.
DETECTIVE #1:「We want to know where your Son is, Marcie.」
narrator:DETECTIVE #2 Jerome Samuel Hall. Did he have a fight with your husband? Where they fighting?
DETECTIVE #1:「Maybe they had a fight, maybe it was an accident. Maybe it was an accident?」


narrator:DETECTIVE #3 Help him out, and help us get there before something else --
 DETECTIVE #2 Help us help your son, Marcie.
 WHIP TO:
 INT. NORTH HOLLYWOOD APARTMENT - THAT MOMENT
 CAMERA pushes in on the little kid, DIXON, who gave Jim Kurring the rap earlier. Sitting around with the friends who we saw earlier in one of their apartments. They're glued to the TELEVISION that plays the show.
 The BACK OF A FIGURE (black male) enters FRAME and tapes Dixon's shoulder with a "let's go" motion and Dixon gets up and follows... CAMERA keeps going in towards the television --
JIMMY GATOR:「OC) Steals are OK, escelating point scale from 25 to 250 so Let's Go Categories!」
narrator:WHIP TO:
 INT. EARL'S HOUSE - LIVING ROOM - THAT MOMENT
 CAMERA pushes in profile on PHIL. The DOORBELL RINGS and he jumps. The DOGS go crazy barking. Phil heads for the door, opens up. It's the PINK DOT GUY.
PHIL:「Hi.」
narrator:PINK DOT GUY $15.24.
 ANGLE, EARL'S TELEVISION - THAT MOMENT. A small bank of VIDEO MONITORS pops up and displays some categories;
JIMMY GATOR:「We have, "Authors" "The Dee Blue" and "Chaos vs. Superstring"」
narrator:ANGLE, PHIL He hands over a twenty dollar bill to the Pink Dot Guy. The DOGS go crazy barking and he tries to calm them down.
 ANGLE, EARL'S TELEVISION Jimmy behind the podium.
JIMMY GATOR:「Adults won a coin toss backstage and they'll have first choice: Todd.」
narrator:TODD I'll take "Authors," Jimmy.
 ANGLE, PHIL He dumps the bag out and goes straight for the Porno Magazines. He flips to the back of one, scanning quickly for something -- XCU, his finger moves down the page, arrives at an AD for "Seduce and Destroy" that has a picture of Frank with a girl in a bikini and says, "Get Laid Now."
PHIL:「Got it.」
narrator:ANGLE, EARL'S TELEVISION - THAT MOMENT Jimmy reads from his index cards. (tv slow zoom in)
 JIMMY GATOR First question for 25. This female author's most famous work "O! Pioneers" --
 ANGLE, PHIL - THAT MOMENT CAMERA pushes in super-quick as Phil picks up the phone and starts to dial the 1-800 number listed in the porno magazine.
 CUT TO:
 INT. GAME SHOW STAGE - THAT MOMENT
 CAMERA does a super fast WHIP and DOLLY in to STANLEY as he presses his buzzer:
STANLEY:「Willa Cather.」
narrator:CAMERA PUSHES IN ON JIMMY.
 JIMMY For 25. Best known for the "tragedy and blood" genre, this author-playwright --
 CAMERA WHIPS and PUSHES IN ON STANLEY.
STANLEY:「buzzes) Thomas Kyd.」


narrator:JIMMY This French playwright and actor joined the Bejart troupe of actors --
STANLEY:「buzzes) Moliere.」
narrator:JIMMY I'm gonna need a full name, Stanley.
 STANLEY Jean Baptiste Poquelin Moliere.
 CAMERA WHIPS to the adults who instantly look un-happy:
LUIS:「to Todd) What the fuck is this?」
narrator:CUT TO:
 INT. PARENTS GREEN ROOM - THAT MOMENT
 CAMERA pushes in on Rick as he sits back and smiles.
 RICK My little fucker -- I have no idea where he gets this stuff.
 CUT TO:
 INT. VAN NUYS OFFICE SPACE - THAT MOMENT
 CAMERA pushes in on a geek named CHAD (20s) who answers a phone. He has a small computer in front of him. This is the bolier-room- answering-phones-for-orders headquarters for "Seduce and Destroy."
 Five or six other guys sit around desks, answering phones and working computers, etc. There are posters of Frank all around and some maps and some charts, etc.
CHAD:「into phone) "Seduce and Destroy," thisz Chad, can I have your home phone number with area code, please?」
narrator:CUT TO:
 INT. EARL'S HOUSE - KITCHEN - THAT MOMENT
 CAMERA pushes in on Phil, on the phone.
PHIL:「Hi, hello, great. This is Seduce and Destroy?」
CHAD:「It is. Can I have your home phone number with area code?」
PHIL:「Well I don't want to order anything, you see. I have a situation, a situation just come up that's really pretty serious and I'm not sure who I should talk to or what I should do but could you maybe put me in touch with the right person if I explain myself?」
narrator:CHAD I'm really only equipped to take orders --
 PHIL Well can you connect me to someone else?
 CHAD Well what's the situation?
 PHIL Well, ok. Lemme see how I explain this without it seeming kinda crazy, but here go: I'm, my name is Phil Parma and I work for a man named Earl Partridge -- Mr. Earl Partidge. I'm his nurse. He's a very sick man. He's a dying man and he's sick and he's asked me to help him, to help him find his son -- Hello? Are you there, hello?
 CHAD I'm here, I'm listening.
 PHIL OK. See: Frank TJ Macky is Earl Partridge's son....
 CUT TO:
 INT. HOLIDAY INN SUITE - THAT MOMENT
 Frank and Gwenovier doing the interview;
 GWEN Where are you from originally?
Frank T.J. Mackey:「Around here.」


GWEN:「the valley?」
narrator:FRANK Hollywood, mainly.
 GWEN And what did your parents do?
 FRANK My father worked in televison. My mother -- this is gonna sound silly to you -- she was a librarian.
 GWEN Why does that sound silly?
 FRANK Well I guess it doesn't.
GWEN:「Does you mother still work?」
Frank T.J. Mackey:「She's retired.」
GWEN:「Are you close?」
narrator:FRANK She's my mother.
 GWEN What does she say about, "Seduce and Destroy."
 FRANK "Go Get 'Em, Honey."
 GWEN And your father?
Frank T.J. Mackey:「He passed away.」
narrator:GWEN I'm sorry.
Frank T.J. Mackey:「people die.」
narrator:GWEN I wouldn'tve asked --
Frank T.J. Mackey:「Not a problem.」
narrator:GWEN And you ended up at UC Berkely --
Frank T.J. Mackey:「From '84 to '89.」
GWEN:「Psychology major?」
narrator:FRANK Right.
 GWEN Do you have your masters?
 FRANK ...this close...
GWEN:「In five years?」


narrator:He winks and clicks his teeth.
 FRANK Muffy, can I get another ciggy?
 CUT TO:
 INT. PHARMACY - THAT MOMENT
 The YOUNG PHARMACY KID is stacking some stuff away while waiting for the PHARMACIST to finish filling the perscription.
 YOUNG PHARMACY KID Cats and Dogs out there, huh?
LINDA:「mmmhmm.」


narrator:「YOUNG PHARMACY KID Must have alot goin' on for all that stuff you got back there, eh? You could have quite a party all that stuff....
 Linda looks down. HOLD. BEAT. THEN:
 YOUNG PHARMACY KID You been on Prozac long? Dexadrine?
 LINDA ...I don't....
 YOUNG PHARAMCY KID Interesting drugs. Dexadrine's basically speed in a pill. Y'know? But I guess a lot of doctors are balancing out the prozac with the dexadrine, eh? That Liquid Morphine'll knock you down, out, around, up and down someone's not careful.....can't mix those up, y'know... ...Must have a lot goin' on in your life for all that stuff there.
 The Older Pharamacist DINGS his bell and the Young Pharmacy Kid gets the bag and starts to ring it up. SLOW ZOOM IN ON LINDA as he babbles away;
 YOUNG PHARAMCY KID (OC) Strong, strong stuff here, boy...wow.... What exactly you have wrong, you need this stuff?
 LINDA snaps. She starts to tremble and cry and build --
 LINDA You motherfucker...you motherfucker.... YOU FUCKING ASSHOLE, WHO THE FUCK ARE YOU? WHO THE FUCK DO YOU THINK YOU ARE?
 YOUNG PHARMACY KID -- what-what-what, ma'am -- I --
 LINDA I COME IN HERE - YOU DON'T KNOW, YOU DON'T KNOW WHO THE FUCK I AM OR WHAT MY LIFE IS AND YOU HAVE THE FUCKING BALLS, THE INDECENCY TO ASK ME A QUESTION ABOUT MY LIFE --
 Linda PUSHES a large DISPLAY over on it's side, SMASHES things on the counter, throws things around, basically goes nuts. The Older Pharamacist comes rushing to the front to try and calm things --
 OLDER PHARMACIST Please, lady, why don't you just calm down --
 LINDA And FUCK YOU TOO. Don't you call me "lady." I come in with these things, I give it over to you, you doubt, you make your phone calls, check on me, look suspicious, ask questions, "I'm sick." I HAVE SICKNESS ALL AROUND ME AND YOU FUCKING ASK ME MY LIFE? WHAT'S WRONG? HAVE YOU SEEN DEATH IN YOUR BED IN YOUR HOUSE? And where is your fucking decency? That I'm asked questions "WHAT'S WRONG?" You suck my dick, that's what's wrong and you, you fucking call me "lady." You SHAME ON YOU. SHAME ON YOU. SHAME ON BOTH OF YOU.
 She THROWS a crumpled STACK OF MONEY at them both, grabs the PERSCRIPTION and heads for the door --
 CUT TO:
 INT. LINDA'S MERCEDS - MOMENTS LATER
 She slams the door. She's shaking and crying.
 CU - Pharmacy bag ripped open. CU - Bottle cap of Dexadrine popped off. CU - Linda's mouth as she swallows back the pills.
 CUT TO:
 EXT. PHARMACY/STREET - THAT MOMENT
 CAMERA BOOMS down on her Mercedes as it peel out and off --
 CUT TO:
 INT. EARL'S HOUSE/VAN NUYS OFFICE SPACE - THAT MOMENT
 Continue w/intercut between Phil and Chad on the phone. BEAT, THEN:
 CHAD Why don't they have the same last name? They don't have the same last name.
 PHIL I know -- and I can't really explain that, but I have a feeling there's something, some situation between them, like they don't really know each other much or well, something like they don't talk much anymore --」


CHAD:「Uh-huh.」
narrator:PHIL Does this sound weird?
 CHAD Well I'm not sure why you're calling me.
 PHIL There's no number for Frank in any of Earl's stuff and he's pretty out of it -- I mean, like I said, he's dying, y'know. Dying of Cancer.
 CHAD What kind of Cancer?
PHIL:「Brain and Lung.」
narrator:CHAD My mother had breast cancer.
 PHIL It's rough. I'm sorry, did she make it?
CHAD:「Oh, she's fine.」
PHIL:「Oh that's good.」
narrator:CHAD It was scary though.
 PHIL It's a helluva disease.
CHAD:「Sure is. So why call me?」
narrator:CAMERA pushes in on Earl, asleep in the bed, breathing becomes a bit irregular. HOLD on him. 30fps.
 PHIL I know this all seems silly. I know that maybe I sound ridiculous, like maybe this is the scene of the movie where the guy is trying to get ahold of the long-lost son, but this is that scene. Y'know? I think they have those scenes in movies because they're true, because they really happen. And you gotta believe me: This is really happening. I mean, I can give you my phone number and you can call me back if you wanna check with whoever you can check this with, but don't leave me hanging on this -- please -- please. See: See: See this is the scene of the movie where you help me out --
 CUT TO:
 INT. HOLIDAY INN SUITE - THAT MOMENT
 Frank and Gwenovier doing the interview, CAMERA DOLLIES IN SLOW ON EACH:
GWENOVIER:「see, I thought you grew up here in the valley --」
narrator:FRANK Like I said, yeah --
 GWEN And you went to Van Nuys High, right?
 FRANK I don't how much I went -- but I was enrolled. I was such a loser back then. I was -- misguided, pathetic -- I was very fat. Not even close to what I am today. Not the Frank TJ Mackey you're eager to talk to because I was swimming in what was as opposed to I wanted.
 GWEN Where does that name come from?
 FRANK What name? My name?
 GWEN It's not your given name, right?
 FRANK My mother's name, actually. Good question. You've done you're research.
GWEN:「And "Frank?"」
narrator:FRANK "Frank" was my mother's father.
 GWEN Ok. That's why. I had trouble locating your school records at Berkely and UCLA. Your name change -- they had no official enrollment --
 FRANK Oh, yeah. No, no, no. They wouldn't --
GWEN:「They wouldn't?」
narrator:FRANK no, no, no. Certainly not. I wasn't officialy enrolled, that's right. Was that unclear?
GWEN:「Kind of.」


Frank T.J. Mackey:「I wouldn't want that to be misunderstood: My enrollment was totally unoffical because I was, sadly, unable to afford tuition up there. But there were three wonderful men who were kind enough to let me sit in on their classes, and they're names are: Macready, Horn and Langtree among others. I was completely independent financially, and like I said: One Sad Sack A Shit. So what we're looking at here is a true rags to riches story and I think that's what most people respond to in "Seduce," And At The End Of The Day? Hey -- it may not even be about picking up chicks and sticking your cock in it -- it's about finding What You Can Be In This World. Defining It. Controling It and saying: I will take what is mine. You just happen to get a blow job out of it, then hey-what-the-fuck- why-not? he.he.he.」


narrator:「CUT TO:
 INT. GAME SHOW SET - THAT MOMENT.
 CAMERA pushes in on Jimmy Gator. A BELL is ringing.
 JIMMY GATOR End of Round One! Excellent work ladies and germs, let's see the scores on the boards: Kids up a leg with 2025, Adults down a bit with 1200. We'll be back for Round Two and a Ring-Dang-Do --
 A sudden and LOUD WISHTLE sounds.
 JIMMY GATOR HELLO! Musical Bonus Question before we go to break and the lucky team is --
 Jimmy opens an ENVELOPE and reads:
 JIMMY GATOR Kids in the lead and they get a chance to pull further and farther ahead -- with the following secret bonus musical question: I will read you a line from an opera and you are to give me the same line in the language in which the opera was originaly written and for a bonus 25 you can sing it. Here's the line: "Love is a rebellious bird that nobody can tame, and it's all in vain to call it, if it chooses to refuse."
 CAMERA PANS and DOLLIES over to the KIDS and moves in close on Stanley;
 STANELY Well that was..uh..in French...and that was in the opera, "Carmen." And that goes...um... (sings) L'amour est un oiseau rebelle Que nul ne peut apprivoiser, Et c'est bien en vain qu'on l'appelle, S'il lui convient de refuser.
 The AUDIENCE applauds and the "Carmen," que carries over the following scene;
 CUT TO:
 INT. CLAUDIA'S APARTMENT - THAT MOMENT
 Sequence E
 Jim Kurring and Clauida continued. He walks into the KITCHEN area and sees a pot of coffee.
 JIM KURRING got some coffee brewing, huh?
 CLAUDIA Yeah...it's not...it's been on for a bit --
 JIM KURRING I like iced coffee, generally, but a day like this, rain and what not, I enjoy a warm cup --
 CLAUDIA -- do you wanna cup?
 JIM KURRING That's great, thank you.
 She starts heating/preparing him some coffee.
 CLAUDIA I don't know how fresh it's gonna be --
 JIM KURRING Oh, it'll be fine, I'm sure, Claudia.
 CLAUDIA You take cream or sugar?
 JIM KURRING That'd be fine. So, Claudia, lemme just say, so I can get my role of LAPD officer out of the way before we enjoy our coffee (I never like to talk shop over coffee) I'm not gonna write you up or anything, I'm not gonna give you a citation here -- but the real problem we have is that there are people around here, people that work from their homes, people tryin' to get some work done, and if you're listenin' to your music that loud: They're incovenienced by that. If you had a job you'd probably understand, but I see you like listenin' to your music and that's fine, you're just gonna wanna keep it down at a certain volume, maybe memorize what number you see on the dial and just always put it to that -- If it's the middle of the day -- that's what I do -- just put it on two and a half and that's a good listening level, alright? I see you like listenin' to your music loud, but, hey, forget about the neighbors, you end up damaging your own ears ok?」


CLAUDIA:「Yeah.」
narrator:JIM KURRING Arlight, then. Cheers.
 They clink coffee cups. He makes a sour face at the taste;
JIM KURRING:「Is this boyfriend bothering you?」
narrator:CLAUDIA I don't have a boyfriend.
JIM KURRING:「The gentleman who came to the door --」
narrator:CLAUDIA -- is not my boyfriend.
 JIM KURRING Many times, in damestic abuse situations the young lady is afraid to speak, but I have to tell you that, being a police officer, I've seen it happen: Young woman afraid to speak, next thing you know, I'm gettin' a call on the radio, I got a 422 --
CLAUDIA:「It's not -- what's a 422?」
narrator:JIM KURRING It's where situations like these lead, Claudia, unless you do something about it early, if and when the police call and come for help. Now there are certain measures you can take --
 CLAUDIA It's not my boyfriend -- and it's not anything -- it's over. Really. It's not. He won't came back.
 JIM KURRING I don't wanna have to come back here in an hour and find that there's been another disturbance.
 CLAUDIA You won't. You won't have to.
 JIM KURRING But I wouldn't mind comin' back in an hour just to see your pretty face!
 They laugh.
 CLAUDIA I'm gonna run to the bathroom real quick.
JIM KURRING:「Okey-doke.」
narrator:She exits. HOLD A BEAT with him.
 CUT TO:
 INT. CLAUDIA'S BEDROOM - MOMENT LATER
 She enters, gets the coke from the laundry basket -- and sets some up, snorts it back --
 CUT TO:
 INT. CLAUDIA'S KITCHEN NOOK - THAT MOMENT
 Jim Kurring looks over his shoulder and sees that she's gone. He quickly moves to the kitchen and dumps the coffee in the sink and then quickly sits back down. End Carmen Que.
 CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 CAMERA on Jimmy, behind the curtain, during the Commercial Break. He takes a shot of Jack Daniels that Mary has brought out for him.
 JIMMY I can't fuckin' do this.
 MARY Are you alright?
 JIMMY Fuck. I think I'm gonna throw up, I think. (beat) I haven't thrown up since I was twenty years old.
 Jimmy stumbles over to a corner a bit;
 ANGLE, GAME SHOW SET. Stanley is trying to flag down Cynthia, who stands off in the wings, she finally comes over;
 CYNTHIA Stanley, what's the problem?
STANLEY:「I have to go to the bathroom, Cynthia.」
CYNTHIA:「Jesus Christ, Stanley, you can't go to the bathroom now. You have exactly one minute before we're back on the air, this is NOT the time to go to the bathroom.」
narrator:STANLEY I'm, I need to go, I'm gonna --


RICHARD:「Why does this kinda shit always happen, Stanley?」
narrator:The Adult Challengers look over at the Kids section;
LUIS:「What's the problem over there?」
narrator:RICHARD Mind yer bussiness --
 MIM Watch your mouth, little man.
 JULIA Why don't you mind your own bussiness?
 CYNTHIA Alright, stop it, cool down, cool it. Please. Now: Stanley, you wait until the next commercial break and you can go then -- Just Hold It. (to Adults) Don't taunt the kids --
LUIS:「I just asked what was going on --」
narrator:CYNTHIA Don't start trouble, Luis.
 ANGLE, BACKSTAGE. CAMERA pushes in on Jimmy from behind as he throws up in a corner. Mary pets his back. He throws up a lot of BLOOD. She snaps fingers to a stage hand to bring some towles and a glass of water --
 OC VOICE Two minutes, everyone, we're back in two!
 CUT TO:
 EXT. LAW OFFICE BUILDING/PARKING STRUCTURE - THAT MOMENT
 Linda's Mercedes pulls out of the rain and to a parking structure. CAMERA PUSHES IN real fast, she takes a ticket. CU'S (Director's note -three ecu's ticket take green button)
 CUT TO:
 INT. LINDA'S MERCEDES - MOMENTS LATER
 CU's on Linda. She pops three or four more DEXADRINE.
 CUT TO:
 INT. LAW OFFICE BUILDING/HALLWAY - THAT MOMENT
 Linda off the elevators...CAMERA pushes in with her....
 CUT TO:
 INT. LAWYER'S OFFICE - THAT MOMENT
 CAMERA whips around, RECEPTIONIST --
 LINDA I'm Linda Partridge to see Alan Kligman.
 CUT TO:
 INT. SEDUCE AND DESTROY CONDO - THAT MOMENT
 CAMERA pushes in quick on a young girl named JANET. (This is the GIRL from Frank's flashback's.) She answers the phone in this converted condo into office headquarters for "Seduce and Destroy." Frank TJ Mackey paraphenallia, propoganda and literature allover the place;
 JANET "Seduce and Destroy," thisz Janet.
 INTERCUT:
 INT. VAN NUYS OFFICE SPACE - THAT MOMENT
 CAMERA pushes in on Chad, on the phone;
CHAD:「Hey, Janet, it's Chad.」


narrator:JANET What's wrong?
 CHAD Nothing's wrong, I just got some guy on the phone on my other line, he's says he works for this guy, this guy who's Frank's father --
 JANET -- no,no,no what is this? who? What's this guy's name?
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 CAMERA (HAND HELD) with Phil, phone to his ear, on hold (we can hear Frank's commercial playing on the receiver, ref. notes.)
 Earl is MOANING in pain, the DOGS are barking at the noise.
 Earl continues to hallucinate and remains in major pain, but at the same time he's very, very weak. There are moments of strength that pop and push into him and he's very angry with Phil, continues to scream for someone named, "Lily," and generally treats Phil like an enemy.
 EARL LILY. FUCK. LIL, PLEASE. LILY.
 Phil moves into the kitchen and gets the bottle of MORPHINE PILLS. He drops them, the crash on the floor, picks them all up, except one...
 which one of the Mutt Dogs walks over to and eats. Earl SCREAMS.
 CUT TO:
 INT. SEDUCE AND DESTROY CONDO - THAT MOMENT
 CAMERA on Janet on the phone, listens, says:
JANET:「mmm.hmmm. mmm..hmm. Alright. Put him through and lemme see what's goin' on --」
narrator:CUT TO:
 INT. VAN NUYS OFFICE SPACE - THAT MOMENT
 CAMERA on Chad. He puts Janet on hold and clicks over to Phil:
 CHAD Phil, you there?
 INTERCUT:
 INT. EARL'S HOUSE - THAT MOMENT
 CAMERA on Phil, tending to Earl, who moans away. (Bit less pain now.) The Mutt/Morphine Dog is starting to get a bit wobbly.
 PHIL Yeah, hey. Chad.
 CHAD Alright, so I'm gonna transfer you over to Frank's assitant, Janet she's gonna see what she can do --
 PHIL Thank you, Chad, and good luck to you and your mother --
 CHAD Thank you. Thank you very much.
 Chad clicks a line and confrences Janet and Phil.
JANET:「Hello?」
narrator:CHAD Ok. Janet you have Phil Parma --
JANET:「Hello, Phil.」
narrator:PHIL Hi, hi, thank you for taking my call --
 CAMERA holds with EARL for a quick BEAT, THEN:
 CUT TO:
 INT. GAME SHOW - BACKSTAGE - THAT MOMENT
 Jimmy finishes cleaning himself up and he looks to Mary:
JIMMY GATOR:「I have Cancer, Mary.」
narrator:She doesn't know what to say.
JIMMY GATOR:「I have about two months, I have no time. It's in my bones and I don't have a chance. And I'm fucked. I had a stroke last week --」


narrator:MARY ...Jimmy...
 The OC call from FLOOR DIRECTOR.
 FLOQR DIRECTOR Ten Seconds.
 Jimmy walks from behind the curtain to the "Adult" contestants, takes his mark and waits for the countdown -- CAMERA moves over to Stanley who watches Jimmy closely and sees him stumble a bit, recognizes that something is wrong. Floor Director counts, 3-2-1 --
 CUT TO:
 INT. SMILING PEANUT BAR - THAT MOMENT
 Sequence F
 CAMERA pulls back from the TELEVISION above the bar, playing the show. We see Jimmy start to chat w/and do intro's for the adults. (Director's Note: This runs through scene and a complete script is avail/will be shot.)
 Donnie and Thurston and the Patrons continued;
 DONNIE ....do you know who I am?
 THURSTON You're a friend of the family I presume?
DONNIE:「What? What does that mean?」
narrator:THURSTON Nothing special, just a spoke in the wheel.
 DONNIE You talk in rhymes and riddles and ra...rub-adub --- but that doesn't mean anything to me, see....see...see I used to be smart....I'm Quiz Kid Donnie Smith. I'm Quiz Kid Donnie Smith from the tv --
THURSTON:「Might of been before my time.」
narrator:PATRON #1 I remember you. I remember. In the 60's right?
DONNIE:「I'm Quiz Kid Donnie Smith.」
THURSTON:「like you said...」
narrator:PATRON #1 Smart Kid! Fuck, yeah, he-he. You got hit by lightning that one time, right?
DONNIE:「So what?」
narrator:PATRON #1 I heard about that.
 PATRON #2 Did it hurt?
DONNIE:「Yes.」
narrator:THURSTON But you're alright now, so what's the what?
DONNIE:「What?」
THURSTON:「That's right.」
narrator:DONNIE I used to be smart but now I'm just stupid.
THURSTON:「Brad, dear?」
narrator:Brad turns and looks:
 THURSTON Who was it that said: "A man of genius has seldom been ruined but by himself."
 DONNIE (to himself) -- Samuel Johnson.
 BRAD I don't know.
 Donnie looks up at Brad. Brad smiles with his braces, Donnie looks away quick --
 THURSTON It was the lovely Samuel Johnson who also spoke of a fella "Who was not only dull but a cause of dullness in others."
 DONNIE "The" cause of dullness in others --
THURSTON:「Picky, picky.」


narrator:DONNIE -- and lemme tell you this: Samuel Johnson never had his life shit on and taken from him and his money stolen -- who took his life and his money? His parents? His mommy and daddy? Make him live this life like this -- "A man of genius" gets shit on as a child and that scars and it hurts and have you ever been hit by lighting? It hurts and it doesn't happen to everyone, it's an electrical charge that finds it's way across the universe and lands in your body and your head -- and as for "ruined but by himself," not if his parents take his friggin' life and his money and tell you to do this and do that and if you don't? well, what --
 PATRON #1 You're parents took your money you won on that game show?
DONNIE:「Yes they did. (turns quick to Thurston) What does that mean, "spoke in the wheel?"」
narrator:THURSTON Things go round 'n round, don't they?
 DONNIE Yes they do, they do, but I'll make my dreams come true, you see? I will.
 THURSTON This sounds Sad as a Weeping Willow.
 DONNIE I used to be smart but now I'm just stupid.
 THURSTON Shall we drink to that?
 Donnie looks to the television for a moment, starts to tear up, CAMERA pushes in slow to an EXTREME CLOSE UP. He repeats line's from his days on "What Do Kids Know?" and does his best Jimmy immitation;
 DONNIE "If a brick weighs one pound plus one half brick -- how much does the brick weigh?" "Well if subtracting the half of brick from the whole brick you got one half of brick, equals one pound so therefore the brick equals two pounds --" "A little more than kin and less than kind," is Hamlet to Claudius. "The sins of the father laid upon the children," is Merchant of Venice but borrowed from Exodus 20:5 and "win her with gifts if she respects not words," is Two Gentleman from Verona. Where? Who? How and Why, Kids?
 THURSTON "Why don't you shut the fuck up," is me to you, Chapter Right Here, Verse Right Now.
 CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 CAMERA on the set with Jimmy walking over to the "Kids" panel;
 JIMMY GATOR KIDS! Are you guys glued to those seats or what? Are you ever leaving? You're getting close to the record, do you get more nervous as we go along?
RICHARD:「A little --」
narrator:JULIA -- yeah....
 JIMMY GATOR -- kids at school must be real excited for you, eh?
 JULIA Oh, yeah...yeah...
RICHARD:「Sure.」
narrator:JIMMY GATOR Stanley the Man! How are you?
STANLEY:「I'm fine. Yes.」
narrator:JIMMY GATOR You're fast becoming a celebrity. How are you handling it all?
STANLEY:「Ohh, it's all fine. It's all. Nice. I'd just like to keep going....keep getting on....」


narrator:JIMMY GATOR Sure, sure...that's fine, then...there...with.....
 Jimmy starts to loose his grip on the proceedings a bit, slows his pace down....Stanley notices....
 JIMMY GATOR Well you've got..many..things, many things happening and on the way....
 ANGLE, BURT. CAMERA PUSHES IN on Burt as he sees Jimmy start to zone out a bit.
 CUT TO:
 INT. JIMMY GATOR'S HOUSE - THAT MOMENT
 CAMERA pushes in on Rose, sitting in the kitchen, watching the television. She holds her breath and tears a bit, noticing Jimmy start to fade.
 CUT TO:
 INT. GAME SHOW STAGE - THAT MOMENT
 Back to Stanley and Jimmy. Jimmy repeats himself;
 JIMMY What were you saying, Stanley?
 STANLEY I was saying...thinking maybe I'd get my own quiz show someday, Jimmy. Just like you!
 The AUDIENCE laughs. Jimmy clicks back with a chuckle and a "isn't that cute," smile to the crowd and he walks over to his podium; CAMERA stays for a moment with Stanley, notices him continue to grab his crotch and make a face....
 JIMMY OK, OK, here we go: Steeper questions, bigger payoff, individual challenges with musical and audio pockets, no-steal-lock-out's, let's get it on in Round Two, Categories are:
 CUT TO:
 INT. HOLIDAY INN SUITE - THAT MOMENT
 Frank and Gwenovier doing the telvision interview. CAMERA DOLLIES IN SLOW ON EACH:
 FRANK -- that's right, that's right, and what I'M saying, that none of my competitors can say is this: That there is no need for insight or understanding. Things of the past! Gone, Over, Done. Do you realize how fucking miraculous this is? How fucking razor sharp and cutting edge and ahead of it's time this concept is? I'm talking about eliminating insight and understanding as human values. GOD DAMN I'M GOOD. There is no need for INSIGHT. There is no need for UNDERSTANDING. I have found a way to take any subjective human experience -- in other words -- all the terrible shit or all the great shit that you've had happen to you in your life -- and quickly and easily transform it in the unconscious mind through the subtle and cunning use of language. The "listener-patient" (in other words: The Chick) settles into a very light, very delicate, conversationally induced state: NOT A TRANCE, mind you, but a STATE. A state that is brand new. The System's state. What did I do? I REALIZED that concept and put it into practical "get my dick hard and fuck it" use. I'm gonna build a state for the seducer and the seducee to live, vote, breath, pay takes and party 'till dawn. I'm gonna teach methods of language that will help anyone get a piece of ass, tit and tail --
GWENOVIER:「Let's talk about --」


narrator:FRANK I just realized this is for television, isn't it? I can't swear up and down like I just did.
 GWENOVIER It's fine. I can bleep it out.
 FRANK I warned you -- I get on a roll...
 GWENOVIER -- let's talk more about your background --
Frank T.J. Mackey:「Muffy -- coffee?」
narrator:Muffy moves to pour a cup, Gwen looks down at her clipboard, then:
 GWENOVIER I'm confused about your past is the thing.
 FRANK Is that still lingering?
 GWENOVIER -- just to clarify --
Frank T.J. Mackey:「So boring, so useless --」
narrator:GWENOVIER I would just want to clear some things up:
 FRANK (Muffy delivers coffee) Thank you, Muffy. Funny thing is: This is an important element of, "Seduce and Destory:" "Facing the past is an important way in not making progress," that's something I tell my men over and over --
 GWENOVIER This isn't meant --
 FRANK -- and I try and teach the students to ask: What is it in aid of?
 GWENOVIER Are you asking me that?
Frank T.J. Mackey:「Yes.」


narrator:GWENOVIER Well, just trying to figure out who you are, and how you might have become --
Frank T.J. Mackey:「In aid of what?」
narrator:GWENOVIER I'm saying, Frank, in trying to figure out who you are --
 FRANK -- there's a lot more important things I'd like to put myself into --
 GWENOVIER It's all important --
Frank T.J. Mackey:「Not really.」
narrator:GWENOVIER It's not like I'm trying to attack you --
 FRANK This is how you wanna spend the time, then go, go, go -- you're gonna be surprised at what a waste it is -- "The most useless thing in the world is that which is behind me," Chapter Three --
 GWENOVIER We talked earlier about your mother. And we talked about your father and his death. And I don't want to be challenging or defeatist here, but I have to ask and I would want to clarify something -- something that I understand --
 FRANK I'm not sure I hear a question in there?
GWENOVIER:「Do you remember a Miss Simms?」
narrator:FRANK I know alotta women and I'm sure she remembers me.
 GWENOVIER She does. From when you were a boy.


Frank T.J. Mackey:「Mm. Hm.」


narrator:GWENOVIER She lived in Tarzana.
 FRANK An old stomping ground --is this the "attack" portion of the interview, I figured this was coming sooner or later -- Is "the girl" coming in for the kill?
 GWENOVIER No, this is about getting something right and claryfying one of your answers to an earlier question --
 FRANK Go ahead and waste your time.
 GWENOVIER I was told that your mother died. That your mother died when you were young --
 FRANK And that's what you've heard?
 GWENOVIER I talked to Miss Simms. Miss Simms was your caretaker and neighbor after your mother died in 1980.
 BEAT. Frank goes silent.
 GWENOVIER In my research I have you listed as the only son of Earl and Lily Partridge. (beat) And what I learned from Mrs. Simms is that your mother passed away in 1980. (beat) See: It's my understanding that the information supplied by you and your company and answers to question's I've asked are incorrect, Frank. And if I'd like to get to the bottom of who you are and why you are then I think your family history -- you're accurate family history...well: this seems important...Frank...?
 VIDEO CAMERA POV - THAT MOMENT Frank lights his cigarette. CAMERA zooms into CU.
 FRANK Are you asking me a question?
GWEN:「Well I guess the question is this: Do you remember Miss Simms?」
narrator:BEAT. HOLD, THEN:
 CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 Jimmy asks questions. Stanley is visibly uncomfortable;
JIMMY:「Kids, Adults, I'd like you to put yourself at a picnic. Place yourself there with your family and friends if you'd like -- you'll hear three musical notes and you are to tell me what it might represent that you'd find at a picnic -- The First Three Notes:」
narrator:OC we hear three musical notes. The "Adults" panel lights up, Todd answers;
 TODD Well, Jimmy, I know this, I have perfect pitch, you see -- and that would be A-D-E. And that would represent lemonade.
JIMMY:「For 250. Next notes, please:」
narrator:OC musical notes: E-G-G.
 TODD (buzzes) Got it. That's E-G-G which would be ~egg."
 Richard and Julia glance at Stanley, like "why the fuck aren't you answering these questions?" He looks straight ahead.
JIMMY:「For 500 and the Third Set Of Notes:」
narrator:OC musical notes: B-E-E.
 TODD (buzzes) B-E-E -- and don't get stung.
 The "Adults" are now within 200 points of the "Kids," on the scoreboard.
 CUT TO:
 INT. LAWYERS OFFICE - THAT MOMENT
 Linda seated across from a lawyer, ALAN KLIGMAN (50s) She's visibly shaking and fucked up.
 KLIGMAN You don't want any water?
 LINDA No...I just...(starts crying a bit) I'm so fucked up here Alan, I don't know...there's so much...so many things --


KLIGMAN:「Are you on drugs right now?」
narrator:LINDA If I talk to you...y'know...if I tell you things...then you're a lawyer, right? You can't say things, you can't tell anyone, it's like the privelage, right? Attornery-client, you understand?
 KLIGMAN Not exactly, Linda. I'm not sure where you're going with this --
LINDA:「Like a shrink, like if I go to see a shrink, I'm protected, I can say things -- fuck -- I don't know what I'm doing --」
narrator:KLIGMAN Linda, you're safe. Ok. It's alright. You're my friend. You and Earl are my clients and what you need to talk about won't leave this room, you have something you have to say --
 LINDA -- I have something to tell you. I have to tell you something. I want to change his will, can I change his will?...I need to ---
KLIGMAN:「You can't change his will. Only Earl can change his will.」
narrator:LINDA No, no....no, you see...I never loved him. I never loved him, Earl. When I started, when I met him, I met him and I fucked him and I married him because I wanted his money, do you understand? (beat) I'm telling you this now...this I've never told anyone...I didn't love him. And now....I know I'm in that will, I know, I was there with him, we were all there together when we made that fucking thing and all the money I'II get -- I don't want it -- Because I love him so much now...I've fallen in love with him now, for real, as he's dying, and I look at him and he's about to go, Alan, he's dead...he's moments... (beat) I took care of him through this, Alan. And What Now Then?
 CUT TO:
 INT. GAME SHOW STAGE - THAT MOMENT
 CAMERA pushes in on Jimmy.
JIMMY:「Let's listen:」
narrator:There's an OC VOICE that speaks the clue;
 VOICE "Hello, Mary. How are you and the seven kids? As you probably heard by know, we sure gave that Pope a run for his money --"
 The ~Adults" buzz. Jimmy looks to Mim.
 MIM Well: That would be General Robert E. Lee. His wife Mary Park Custiss. And he did have seven children and he would be talking about Pope, who he defeated at the Battle of Monasses --
 CUT TO:
 INT. PARENTS GREEN ROOM - THAT MOMENT
 CAMERA pushes in on Rick, who sits back, starting to get real pissed that Stanley isn't answering these questions.
 RICK C'mon, c'mon, c'mon, snap out of it.
 CUT TO:
 INT. GAME SHOW STAGE - THAT MOMENT
 CAMERA moves from the AUDIENCE over to the Stage, listening to another question that is spoken by the OC voice -- this time in French;
 VOICE (in French) "Hello, Josephine, I'm speaking from Egypt --"
 The Adults buzz again and Mim answers;


JIMMY:「Mim --」
narrator:MIM Well that would be Napoleon speaking to Josephine.
JIMMY:「That's right!」
narrator:ANGLE, BURT. He stands off, looking at the scoreboard as the Adults have now pulled ahead by 200 points...he mumbles and grumbles to himself.
 CUT TO:
 INT. LAWYER'S OFFICE - THAT MOMENT
 Linda continued with the lawyer, Kligman.
LINDA:「I don't want him to die, I didn't love him when we met, and I've done so many bad things to him that he doesn't know, things I want to confess to him, but now I do: I love him. I love him so much and I can't stand -- he's going.」
narrator:KLIGMAN What kind of medication are you on right now, Linda that's --
 LINDA This is not any fucking medication talking, this isn't -- I don't know. I don't know -- Can you give me nothing? You have power of attorney, can you see him, can you, in this final fucking moment, go see him and make sure --- change the fucking will -- I don't want any money, I couldn't live with myself, this thing I've done -- I've fucking done so many bad things -- I fucked around. I fucked around on him, I fucking cheated on him, Alan. You're his lawyer, our laywer, THERE, I'm his wife, we are married. I broke the conract of marriage, I fucking cheated on him, many times over, I sucked other men's cocks and fuck - fuck - fuck - ....fuck.... Other Things I've Done..
 KLIGMAN Adultery isn't illegal -- it's not something that can be used in a court to discredit the will or -- Linda. Linda. Calm down.
LINDA:「I can't.」
narrator:KLIGMAN You don't have to change the will, if what you want to do is get nothing you can renounce the will when it's time.
 LINDA Where will the money go?
 KLIGMAN Well. Considering that there's no one else mentioned in the will...we'd have to go to the laws of intestacy, which is -- as if someone died without a will --
LINDA:「What does that mean?」
narrator:KLIGMAN The money would go to Frank. The court would put the money in the hands of a relative --
 LINDA -- that can't happen. Earl doesn't want him to have the money, the things.
 KLIGMAN -- unless Frank is specifically ommitted as a beneficiary that's what will happen.
 LINDA This is so over-the-top and fucked-up I can hardly stand it.
KLIGMAN:「Linda, you just have to take a moment and breath and one thing at a time --」
narrator:LINDA Shut the fuck up.
KLIGMAN:「I'm trying to help, Linda --」
narrator:LINDA Shut the fuck up. Shut the fuck up.
 KLIGMAN You need to sober up.
 LINDA Now you must really shut the fuck up, please. Shut The Fuck Up.
KLIGMAN:「Linda --」


LINDA:「I have to go.」
narrator:She heads for the door.
 KLIGMAN Let me call you a car, Linda.
 LINDA Shut the fuck up.
 She's out the door.
 CUT TO:
 INT. GAME SHOW STAGE - THAT MOMENT
 Three MEN in TUXEDOS and HARMONICAS have taken a place near the band. Jimmy, reading from his cards, introduces them and asks the following question:
 Note: Jimmy's speech is starting to slur a bit more at this point. His motor skills seem to be fading quickly.)
 JIMMY Imagine you are attending a jam session of classical composers and they have each done an arrangment of the classic favorite, "Whispering." Here are three variations on the theme, as three classic composer's might have written it -- you are to name the composer. The First:
 The Harmonica Fella's play an arrangment....CAMERA pushes in close on STANLEY and TITLS DOWN CLOSE TO HIS PANTS....
 Stanley begins to piss his pants. He trembles and shakes and holds back tears as the wet stain gets bigger.
 OC through this we hear the Adults answer the question:
 TODD (OC) Well, Jimmy that sounded to me like Brahms, a bit like his Hungarian Dance Number Six, I believe.
JIMMY:「OC) Excellent. Next number:」
narrator:The Harmonica Fella's play another arrangment of "Whispering" that sounds like Ravel's "Bolero."
 Stanley moves his arms down to his sides to cover his crotch and pull at his pants -- and his BUZZER goes off with a brush of the side of his arm --
 JIMMY Stanley the Man -- answer:
 Stanley. HOLD. He starts to cry. Julia and Richard look over at him and see his pants and they start to laugh a bit.
STANLEY:「I don't know the answer...」


narrator:Jimmy starts to STUDDER and SHAKE a bit....holds a tight grip on the podium;
 JIMMY GATOR That is not right! That's not right, Stanley, the answer is...Ravel....Ravel.... ....xhjksndlsmnop.....
 CAMERA WHIPS and pushes over to the FLOOR DIRECTOR.
 FLOOR DIRECTOR What the fuck is wrong with him? (into headseat} What do you wanna do here, he's fading fast --
 CUT TO:
 INT. BOOTH - THAT MOMENT
 The main booth with monitors and board, etc. The DIRECTOR and and ASSITANT watch the monitors;
 DIRECTOR I need a better cutaway, go to the black chick, Camera Three, Camera Three the black chick --
 A monitor sees the video camera zoom in on Mim as a cutaway but her face is like, "What the fuck is going on?"
 CUT TO:
 INT. GAME SHOW SET - THE FLOOR - THAT MOMENT
 Jimmy is, with a lot of trouble, trying the Harmonica Fella's with the next question...
 Burt walks over quickly to the Floor Director...
 BURT Get the technical difficulty card up --
 CAMERA pushes over to Stanley, who's crying and shaking....
 CAMERA pushes in on Jimmy, who stumbles back from his podium and falls to the ground....taking the podium with him....
 CAMERA pushes in on Burt and the Floor Director...
 BURT Cut it, go to the card, go to the fucking card --
 CUT TO:
 INT. BOOTH - THAT MOMENT
 The DIRECTOR snaps his fingers to an ASSISTANT at the board.
 DIRECTOR Go to the card, now -- go --
 CU - MONITOR IMAGE. The card that reads, "Technical Difficulty," comes up and holds.
 CUT TO:
 INT. CLAUDIA'S APARTMENT - THAT MOMENT
 CAMERA pushes in real quick on Claudia SNORTING COKE from her hand in the bedroom -- she rushes back into the kitchen area --
CLAUDIA:「Ok, ok. I'm back.」
narrator:JIM KURRING This is, for not a fresh cup, a great cup of coffee, Claudia --
CLAUDIA:「Thank you.」


narrator:She sits down, ready to talk, lights a cigarette.
 CLAUDIA What do you wanna talk about?
 CUT TO:
 INT. GAME SHOW STAGE - THAT MOMENT
 Burt, Mary and Assistants and folks run over to Jimmy. He stands, doesn't realize what's happend and mumbles, "what the fuck, what the..."
 The AUDIENCE is murmuring, standing and watching the scene.
 CUT TO:
 INT. HALLWAY - THAT MOMENT
 CAMERA leads RICK as he comes charging out of the green room and races down the hallway --
 CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 CAMERA with the "Kids" panel as Richard and Julia looking at Stanley.
 RICHARD Did you piss your fuckin' pants, Stanley?
 STANLEY Shut up -- shut up --
 Cynthia walks over;
 CYNTHIA What happend, what's going on?
 STANLEY NOTHING. NOTHING HAPPEND. GO AWAY.
 CYNTHIA Don't tell me to go away, Stanley. I am the Co-ordinator in this show and you will answer the questions that I ask, you understand?
 Rick comes over;
 RICK What's the problem, what's the problem here?
STANLEY:「I'm fine. nothing.」
narrator:RICK Why didn't you answer those questions?
STANLEY:「I didn't know the answer --」
narrator:RICK Bullshit. Bullshit. You know the answer to every goddamn question and I knew the answer to those questions and I'm not half as smart as you are so What Happened?
STANLEY:「I don't know.」
narrator:RICHARD He pissed his pants.
 RICK Did you -- did you --
STANLEY:「I didn't I'm fine, I'm fine.」
RICK:「Stand up.」
STANLEY:「I said I'm fine.」
narrator:Rick grabs Stanley a bit and sees a large WET STAIN in Stanley's pants.
 RICK ...oh Jesus, what the fuck...?
STANLEY:「I'm fine. I'm fine, I just wanna keep playing --」


narrator:RICK Why did you do this?
 ANGLE, JIMMY. THAT MOMENT. Jimmy is sweating.
 JIMMY I had a stroke, I think I had a stroke.
 BURT Call 911. Call 911 right now.
 JIMMY No, no, no. I'm fine. It's small, I wanna keep going --
 BURT no, no, c'mon Jimmy we need to call this quits and you need to see a doctor.
 JIMMY I'm telling you right now, I'm fine. I lost my goddamn balance and I couldn't see a moment, but I'm ok.
 BURT Call 911, Mary, do it right now.
 JIMMY You fuckin' don't do that. You don't do it, you cocksucker. I'll fuckin' kill you with my barehands. Go. get the fuck fuck -- we're going back and we finish the show --
 BURT Jimmy you look like you're about to fuckin' die right here --
 JIMMY Shut it. Shut yer fuckin' mouth.
 ANGLE, RICK and STANLEY.
 RICK Are we gonna keep going with this game?
STANLEY:「Yes.」
narrator:RICK You're two fuckin' days from the record, get through this and I'II do anything for you, you just gotta get through this --
STANLEY:「Alright.」
narrator:RICK hang in there, ok. I love you.
 Rick walks away with Cynthia...
 Dick Jennings has sobered up a bit and is doing bad, "calm down/comedy/everything's cool" stuff for the Audience....
 Jimmy and Burt and Mary stand up and a MAKE UP person runs over with some water and cleans him up a bit. Burt moves away --
 FLOOR DIRECTOR What are we doing?
 BURT This is fuckin' stupidity, we'll get back on and go through it --
 The Floor Director starts throwing directions in his headset and to the camera people, etc.
 CUT TO:
 INT. HOLIDAY INN SUITE - THAT MOMENT.
 Sequence G
 CAMERA holds on Frank and starts a SLOW DOLLY IN. Gwenovier remains OC.
GWENOVIER:「OC) Frank...Frank...what are we gonna do here? Are we having a staring contest? (beat) Do you have anything to say?」
narrator:CAPTAIN MUFFY (OC) I think maybe we should rap this up, Chief --
 Frank SNAPS his fingers and signals captain Muffy to stay quiet.
GWENOVIER:「OC) I'm not trying to attack you, Frank. I think that if you have something that needs to be cleared up...Well, then... (beat) I was told that your father, (your father is Earl Partridge,) that he left you and your mother and you were forced to take care of her during her illness...that you took care of your mother as she struggled with Cancer.... (beat) And Miss Simms became your caretaker after your mother died...Frank...Frank... (beat) Frank, can you talk about your Mother? (beat) Frank....can you?」


narrator:CAMERA LANDS CU. ON FRANK. HOLD, THEN:
 CUT TO:
 INT. CLAUDIA'S APARTMENT - THAT MOMENT
 Claudia and Jim Kurring talking. She's rubbing her jaw, blabbing away and he's listening with a grin;
 CLAUDIA --- yeah, yeah, I get in it in my ear. It's TMJ is what it's called technically.
 JIM KURRING What's that stand for?
CLAUDIA:「Tempural-something-mandibular, thing with something, I dunno. But it affects my ear, I don't even know if I have TMJ exactly but just very tight, like - it's like a muscle spasm and it's just gets so clenched --」
narrator:She's interupted by the call on his RADIO. He takes the call. (Director's Note: Technical blah-blah-blah,etc.)
JIM KURRING:「This is my job.」
narrator:CLAUDIA We were just gettin' warmed up. We were just getting started.
 JIM KURRING Well if you listen' to that music too loud again and that fella returns maybe we'll share another cup of coffee --
 CLAUDIA If you're not here for a 422 --
 JIM KURRING No. No. Don't joke about that. That's not funny, Claudia. Please, now.
CLAUDIA:「I'm sorry.」
narrator:JIM KURRING Ok, then. Keep your chin up and your music down, alright?
 CLAUDIA Yes. I will. It was nice to meet you Officer Jim.
JIM KURRING:「Just Jim.」
CLAUDIA:「yeah, good, ok.」
JIM KURRING:「Bye, bye, Claudia.」
CLAUDIA:「Good bye.」
narrator:She closes the door. HOLD.
 CUT TO:
 EXT. CLAUDIA'S APARTMENT - THAT MOMENT
 Jim Kurring stands outside the door for a moment. He hesitates a moment, then....he's about to knock....His RADIO goes off...he turns it down real quick --
 CUT TO:
 INT. CLAUDIA'S APARTMENT - THAT MOMENT
 Claudia hears the RADIO go off and stands back a bit from her door...hold a moment...then there's a KNOCK...she opens up:
 CAMERA DOLLIES IN A LITTLE ON JIM KURRING.
JIM KURRING:「I'm sorry, Claudia.」
narrator:CLAUDIA What is it? Did you forget something?
 JIM KURRING No, no. I was wondering...man oh man. I think I feel like a bit of a scum-bucket doing this, considering that I came here as an officer of the law and the situation and all this but I think I'd be a fool if I didn't do something I really want to do which is to ask you on a date.
 CLAUDIA You wanna go on a date with me?
JIM KURRING:「Please, yes.」
narrator:CLAUDIA Well...is that illegal?
JIM KURRING:「No.」


narrator:CLAUDIA Then...I'd like to go...What do you want to do?
 JIM KURRING I don't know. I haven't thought about it -- you know what -- that's not true -- I have thought about it. I've thought about going on a date with you since you opened the door.
 CLAUDIA Really?
JIM KURRING:「Yeah.」
narrator:CLAUDIA I thought you were flirting with me a little.
 He laughs and she laughs and then:
 CLAUDIA Do you wanna go tonight? I mean, are you working?
 JIM KURRING No, I'm off tonight. I would lov-like, to go tonight, I can pick you up, I can pick you up here at about what time? What time?
CLAUDIA:「Eight o'clock?」
narrator:JIM KURRING What about ten o'clock, is that too late? I don't get off and then --
 CLAUDIA Oh sure yes, that's fine, late dinners are good. Should I get dressed up or -- ?
 JIM KURRING No, no, just casual maybe, maybe I thought -- there's a spot I like to go, it's real nice that overlooks a golf course and the course is lit up at night --
CLAUDIA:「Billingsley's?」
narrator:JIM KURRING Yeah, You know it? You know Billingsley's?
 CLAUDIA It's my favorite place --
 JIM KURRING Oh, see? This is great. Ten o'clock.
CLAUDIA:「Great, bye.」
JIM KURRING:「Bye.」
narrator:She closes the door.
 CUT TO:
 INT. HOLIDAY INN/SEMINAR ROOM - THAT MOMENT
 CAMERA pushes in on DOC, who's speaking to a group of Frank's disciples. He's blah-blah-blahing about Seduce and Destory, etc.
 DOC Not true. Not true. And you know what? Even if you don't get to pump her, you can still practice honing your skills on a femenist --
 DISCIPLE -- I know --
 DOC -- and you need to do that.
 DISCIPLE I will.
DOC:「No, you need to do it.」
narrator:His CEL PHONE rings and he excuses himself.
DOC:「into phone) Thisz Doc.」
narrator:INTERCUT:
 INT. SEDUCE AND DESTROY CONDO - THAT MOMENT
 CAMERA on JANET. She's on the phone. It rings.
JANET:「Doc it's Janet.」
narrator:DOC What's up?
 JANET I have to talk to Frank, is he nearby?
 DOC He's doing the interview with the lady --
JANET:「I need you to interupt him, I need to get him on the phone with me right away --」
DOC:「What happend?」
JANET:「Doc, go get Frank and put him on the phone.」


narrator:CUT TO:
 INT. HOLIDAY INN SUITE - THAT MOMENT
 CAMERA pushes in on Gwenovier and Frank. (Dead on Singles.)
 GWENOVIER C'mon, Frank. What are you doing?
Frank T.J. Mackey:「What am I doing?」
GWENOVIER:「Yeah.」


narrator:FRANK I'm quietly judging you.
 CUT TO:
 INT. GAME SHOW STAGE - THAT MOMENT
 CAMERA pushes in on the FLOOR DIRECTOR again who counts down;
 FLOOR DIRECTOR And...three...two...one ---
 He points to Jimmy, who pops into shape, looks into the TV CAMERA.
 JIMMY GATOR What a day and what a round, going back and in for me and the final speed round to determine who's who today -- scores on the board's Kids: 9225. Adults: 11,000. And this game is not out of reach for the Kids...can they hang in there and break the record? (etc,etc) Elders! Who's the lucky so and so?
 Mim from the "Adults" speaks into her mic.
 MIM It's gonna be me, Jimmy.
 JIMMY C'mon down here, Mim.
 She stands up and crosses over to Jimmy. This is for a ONE ON ONE final section speed round. One Kid vs. One Adult.
 ANGLE, STANLEY. CAMERA pushes in on him and lands in CU.
 He takes his shirt out of his pants and tries to pull it down enough to cover the large wet stain in his pants.
 ANGLE, JIMMY AND MIM They chat about the game so far, etc. "They're quite a challenge, etc."
 ANGLE, STANLEY and RICHARD and JULIA. Stanley can't pull his shirt down enough to cover. He turns to Richard and Julia;
 STANLEY I don't wanna go, I can't do it this time.
 RICHARD -- the fuck are you talking about?
 JULIA You have to go, Stanley. You're the smartest.
 STANLEY I don't wanna do it. Why can't one of you do it --
 RICHARD Stanley if you don't fuckin' stand up and go over there I'm gonna beat your ass --
 STANLEY I'm sick of being the one, the one who always has to do everything, I don't want to be the one always --
JIMMY:「OC) KIDS!」
narrator:Jimmy looks over to the "Kids" panel.
 JIMMY Do I even have to ask? Stanley, get your butt over here --
 Stanley looks like a deer in headlights. The AUDIENCE applauds.
 CUT TO:
 INT. SMILING PEANUT BAR - THAT MOMENT
 The TELEVISION above the bar holds this moment where Stanley won't move. DONNIE is seriously fucked up now and the CAMERA pushes in on him. He glances around, up the television, sees Stanley. BEAT.
 Thurston and the other folks around chat away, etc;
DONNIE:「I'm sick....I'm sick here now.....」
narrator:They continue to chat, trying to ignore him now;
 DONNIE I confuse melancholy and depression sometimes....
 THURSTON Mmm.Hmm.
DONNIE:「You see?」
narrator:THURSTON Why don't you run along now friend, your dessert is getting cold.
DONNIE:「I'm sick.」
THURSTON:「Stay that way.」


narrator:DONNIE I'm sick and I'm in love.
 THURSTON You seem the sort of person who confuses the two.
 DONNIE That's right. That's the first time you're right. I CONFUSE THE TWO AND I DON'T CARE.
 Donnie looks to Brad, then:
DONNIE:「HEY. HEY.」
narrator:Brad looks. Donnie stands up, backs away from the bar as he talks;
 DONNIE I love you. I love you and I'm sick. (beat) I'II talk to you....I'll talk to you tommorrow. I'm getting corrective oral surgery tomorrow. For my teeth. For my teeth and for you....for you so we can speak. You have braces. Me too. Me too. I'm getting braces, too. For you. For you, dear Brad. And I don't have any money. And I don't have any money now but I'II get it...I will for you, Brad. I love you, Brad. Brad the Bartender. (beat, crying now) You wanna love me back? Love me back and I'll be good to you. I'II be god damn good for you. And I won't be mad if you don't know who said what. I won't punish you if you get the answer wrong. I can teach and tell you: Samuel Johnson.
 THURSTON Brad, honey, you have a special secret crush over here I think, don't take him too lovely -- he might get hurt --
DONNIE:「You mind your own bussines.」
THURSTON:「Gently, son --」
DONNIE:「Brad, I know you don't love me now --」
THURSTON:「It's a dangerous thing to confuse chidlren with angels..."」


narrator:DONNIE -- and you wanna know the common element for the entire group, like he asks...I'll tell you the answer: I'll tell you, 'cause I had that question. I had that same question....Carbon. In pencil led, it's in the form of graphite and in coal, it's all mixed up with other impurities and in the diamond it's in hard form. (Jimmy impersonation) "Well...all we were asking was the common element, Donnie...but thank you for all that unnecessary knowledge...ahhh, Kids! Full of useless thoughts, eh?" Thank you. Thank you. (beat) And the book says: "We may be through with the past but the past is not through with us." (to Thurston) And NO IT'S NOT DANGEROUS TO DO THAT.
 Donnie has backed away, close to the bathroom. He heaves a bit, cries, turns and runs for the bathroom --
 CUT TO:
 INT. SMILING PEANUT/BATHROOM - THAT MOMENT
 OVERHEAD ANGLE, LOOKING STRAIGHT DOWN ONTO: Donnie bursts in the bathroom and starts to vomit and moan, etc.
 CUT TO:
 INT. POLICE CAR - MOVING - THAT MOMENT
 It's pouring RAIN still. Jim Kurring is talking to himself, doing "Cops." (Dial: Ref. improv. notes/sweet girl/excited/date/job)
 Jim Kurring interupts himself and notices something (very blurry, through the RAIN)
 JIM'S POV: A young BLACK MALE (late 20s) is standing on the street, about to jay-walk.
 The Young Black Male, at the site of Kurring, turns around and walks back the direction he came, deciding against the jay walk.
 Jim Kurring looks in his rear view mirror and sees that the Young Black Male is now RUNNING back towards something --
 CUT TO:
 EXT. STREET - THAT MOMENT
 Jim Kurring's POLICE CAR makes a U-turn.
 CUT TO:
 INT. CLAUDIA'S APARTMENT - THAT MOMENT
 Claudia snorts a line of coke, comes up and looks at her televison; It's playing, "What Do Kids Know?"
 CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 Stanley doesn't move. He says to Jimmy:
 STANLEY I'm going to pass, Jimmy.
 ANGLE, JIMMY. He doesn't know what to do and he's a bit out of it.
JIMMY:「Stanley, passing to one of the other kids --」
narrator:RICHARD We want Stanley to go, Jimmy.
 STANLEY I don't want to go.
 BEAT.
 CUT TO:
 INT. HOLIDAY INN/LOBBY - THAT MOMENT
 CAMERA (STEADICAM) follows/leads DOC as he walks from the seminar area to the elevators...this is one continuous shot...as he gets into the elevator's and rides up, talking on the cel phone.
 DOC I'm walking towards the elevator's, Janet.
JANET:「OC) Fine. Phil, you still there?」
PHIL:「OC) Yeah I'm here.」


JANET:「OC) I wanna ask you one question, Phil: Have you talked to anyone else about this? About Frank and Earl?」
PHIL:「OC) No I haven't.」
JANET:「OC) Alright, good, I'd like to keep it that way -- all the security and what not, you understand? This could be a delicate situation for Frank and the family --」
DOC:「OC) What happend?」
JANET:「OC) Doc, just - don't, how close are you?」
DOC:「OC) I'm about to get off the elevator --」
narrator:The Elevator doors DING and OPEN and Doc steps out -- heads down the hallway towards the suite --
JANET:「OC) Phil, hang in just one more minute ok? I'm gonna put you on hold -- Doc you still there?」
DOC:「Yeah, I'm here, I'm off the elevator, walking down the hall, now --」
narrator:CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 Stanley doesn't move. Jimmy tries to hold it all together;
JIMMY:「Richard, Julia, kids? What's it gonna be, we need a player for one on one --」
narrator:RICHARD We want Stanley to play, Jimmy and we're not sure why he won't --
 STANLEY I don't want to play. I always play, I always answer the questions and I don't wanna do it anymore --
 CAMERA pushes in on Burt, who snaps at Cynthia:
 BURT What the fuck is he doing, what's wrong with him?
CYNTHIA:「I have no idea.」
narrator:CUT TO:
 INT. HOLIDAY INN - HALLWAY - THAT MOMENT
 CAMERA (STEADICAM) following Doc as he walks swiftly down the hallway towards the suite --
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 CAMERA on Phil on the phone. He sits watching Earl. 30fps. PUSH IN.
 CUT TO:
 INT. EARL'S HOUSE - GARAGE - THAT MOMENT
 It's black. The GARAGE DOOR opens....Linda's MERCEDES is pulling in out of the POURING RAIN....
 CUT TO:
 INT. BOOTH - THAT MOMENT
 The DIRECTOR and his ASSISTANT and other folks in the booth;
 DIRECTOR This fuckin' kid ain't gettin' up and we don't have a show, live television, ladies and gents --
 CUT TO:
 INT. PARENTS GREEN ROOM - THAT MOMENT
 The other parents snap at Rick. CAMERA DOLLIES in on him slow.
 JULIA'S MOM What the hell does he think he's doing?
 RICHARD'S DAD Is this a point? is this a game?
RICK:「GET THE FUCK UP, KID.」


narrator:CUT TO:
 INT. HOLIDAY INN SUITE - THAT MOMENT
 CAMERA on Frank. He looks at his watch, then:
 FRANK Time's up. Thank you for the interview.
 GWENOVIER So you sat it out, that's what you did?
 FRANK You requested my time and I gave it you, you called me a liar and made accusations. And you say, "If I'd known I wouldn't have asked," then it's not an attack? Well, I don't wanna be the sort of fella who doesn't keep his word. I gave you my time, Bitch. So fuck you now.
 Frank heads out of the room quick. CAMERA leading him in CU.
 GWENOVIER You're hurting a lot of people, Frank --
Frank T.J. Mackey:「fuck you.」


narrator:He's out the door with Captain Muffy in tow.
 CUT TO:
 INT. HALLWAY - THAT MOMENT
 CAMERA moving quick with Doc towards the room. Frank and Captain Muffy step out of the room and Doc holds up the Cel Phone....stops.
 DOC Frank, there's a situation on the phone --
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 The DOGS go crazy barking and Phil jumps a bit. They hear the garage door and run towards it. The Morphine Dog runs into a wall.
 Phil turns his head (40fps)
 CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 CAMERA on Stanley. BEAT. HOLD.
JIMMY:「OC) I need a player, Kids....c'mon now. (to Audience) The indescision of a child, ladies and germs!」
narrator:The AUDIENCE laughs a bit and chuckles.
 STANLEY This isn't funny. This isn't "cute." Jimmy -- Jimmy -- we're not a toy -- we're not dolls, here. This isn't funny you see, the way we're looked at if you think that we're cute Because What? What? I'm made to feel like a freak if I answer questions and I'm smart or I have to go to the bathroom. What Is That? (starts to cry) And what is that, Jimmy, I'm asking? I'm asking what is that, Jimmy? I'm asking you that -- ?
 CAMERA pushes in a bit on him.
 JIMMY Well I'm not sure, Stanley.
 CUT TO:
 EXT. APARTMENT BUILDING/LA RIVER - THAT MOMENT
 CAMERA {STEADICAM) follows Jim Kurring as he walks around the side of an apartment building, looking for the BLACK MALE....he snoops a bit, holding his flashlight as it's just about dark....the side of the building runs along the L.A River.....he starts in towards something...
 A very LOUD GUNSHOT IS HEARD and HITS on the side wall of the apartment, right next to Jim Kurring's FACE --
 he ducks for cover, looses balance and falls down, in the mud, sliding down the embankment next to the L.A. River --- another GUN SHOT is heard....
 Kurring reaches for his REVOLVER which is not in it's holster --
 CUT TO:
 INT. SMILING PEANUT/BATHROOM - THAT MOMENT
 CAMERA zooms in from overhead angle as Donnie continues to throw up violently.
 CUT TO:
 INT. HOLIDAY INN - STAIRWELL - THAT MOMENT (INTERCUT)
 CAMERA holds on Frank in close up, he's on the phone. Doc and Captain Muffy stand with him in the stairwell.
JANET:「OC) I'm sorry, Frank. I didn't know what you would want here, what you would want me to do -- I'm -- I asked him all the right questions, he's his nurse, he's sitting right there with him and he's -- I mean, I can hear him in the background -- your father --」
Frank T.J. Mackey:「Is he at the house?」


JANET:「OC) I asked him the exact adress and he gave it -- I know that this must be hard, you having to hear this --」
narrator:FRANK Don't give me things, Janet just tell me the thing, the information --
JANET:「OC) I'm sorry.」


narrator:CUT TO:
 INT. EARL'S GARAGE - THAT MOMENT
 Linda parks the car and leaves the ENGINE RUNNING. BEAT. We can hear the DOGS BARKING OC....HOLD.
 CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 Stanley is continuing. He's hyperventilating.
 STANLEY We are not on display. I am not a doll. I AM NOT A DOLL...I' M NOT SILLY AND CUTE. I'M SMART SO THAT SHOULDN'T MAKE ME SOMETHING, SOMETHING SO PEOPLE CAN WATCH HOW SILLY IT IS THAT HE'S SMART? I KNOW. I KNOW THINGS. I KNOW. I HAVE TO GO TO THE BATHROOM I HAVE TO GO TO THE BATHROOM AND I HAVE TO GO.
 JIMMY I'm sorry, Stanley.
 Stanley embarresed now.
 STANLEY I'm sorry, I'm sorry, I didn't mean to do this.
 CUT TO:
 INT. PARENTS GREEN ROOM - THAT MOMENT
 RICK is standing now....he VIOLENTLY throws a chair against the wall and it SHATTERS into a hundred pieces --
 RICK FUCK. FUCK. FUCK. FUCK.
 CUT TO:
 EXT. APARTMENT/LA RIVER EMBANKMENT - THAT MOMENT
 It's FLOODING with RAIN....Jim Kurring is without gun and he's scared shitless....and he can't see...and he's running for cover in some bushes....CAMERA is HAND HELD and wild, following and falling with him....MUD and RAIN and SHIT everywhere......
 His POV...across a bridge...he sees the slight FIGURE as it flees.... (could be the Black Male, but hard to tell in a quick glimpse) he then sees another SMALLER FIGURE scuttle away...
 He doesn't run.....he stays...holds....
 CUT TO:
 INT. CLAUDIA'S APARTMENT - THAT MOMENT
 CAMERA pushes in on her cocaine on the table, TILTS up to her FACE, watching the show, then WHIPS RT. and pushes in towards the MONITOR.
 ON THE MONITOR. Stanley is crying....
 CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 CAMERA on Stanley.
 STANLEY I don't mean to cry, I'm sorry.
 JIMMY It's okay, Stanley. It's alright.
 CAMERA with Burt as he walks to the Floor Director...
 BURT Take us off the air, go to the the credits --
 The Floor Director starts to speak some things into the headset.
 CUT TO:
 INT. EARL'S GARAGE - THAT MOMENT
 Linda rolls down the windows in the closed garage with the engine running...fumes start to fill the garage...she starts to cry and lights a cigarrette...the bag of perscriptions sits next to her...
 CUT TO:
 INT. STAIRWELL - THAT MOMENT (INTERCUT)
 Frank on the phone with Janet, Captain Muffy and Doc in stairwell.
Frank T.J. Mackey:「I haven't spoken to this asshole in ten years....what did I do....? What did I do today for this? For all of this? ....what....is this.... ....Is This A Movie.....?」


narrator:CUT TO:
 INT. GAME SHOW SET - THAT MOMENT
 The MONITORS in the place go to a Still Card that has the "What Do Kids Know?" logo...and the titles start to roll on it.
 Stanley notices and he RUNS from the podium, towards backstage...
 Jimmy is standing next to Mim he holds on to her a moment..... loosing his balance again....
 Burt and Cynthia rush the stage....
 Stanley dissapears from the stage...
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 Phil still on the phone, Earl is asleep. He stands up and heads for the garage -- hears the sound of the engine running -- dogs are continuing to bark like crazy --
 CUT TO:
 INT. GARAGE - THAT MOMENT
 Linda in CU. She hesitates a moment. THEN: She quickly shuts off the engine, GRABS the bag of LIQUID MORPHINE --
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 CAMERA leads/follows Linda as she enters, approaches Phil;
PHIL:「Linda --」
narrator:LINDA What are you doing?
 PHIL I've got Frank...Frank Earl's son. He's...he asked me to get him and I did --
 LINDA Hang up the phone.
 PHIL No, Linda, you don't understan --
 LINDA PUT THE FUCKIN' PHONE DOWN, HANG IT UP.
 She SLAPS his FACE HARD. The PHONE FALLS to the ground.
 CUT TO:
 INT. STAIRWELL - HOLIDAY INN - THAT MOMENT (INTERCUT)
 Frank on the cel phone to Janet --
Frank T.J. Mackey:「Put him on --」


narrator:Janet clicks Frank over and there's a MOMENT of BLUR/NOISE (Linda and Phil, screaming and static) and then it's gone --
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 Linda screaming at Phil.
LINDA:「You don't do that, you don't call him, you don't know to get involved in the bussiness of his, of his of my family. this is the family, me and him do you understand? You understand? NO ONE ELSE. THERE IS NO ONE ELSE. That man, his son does not exist. HE IS DEAD. HE IS DEAD and WHO TOLD YOU TO DO THAT?」
PHIL:「Earl asked me, Linda, please, Linda, I'm sorry -- Earl asked me --」
LINDA:「BULLSHIT. BULLSHIT HE DIDN'T ASK YOU, HE DOESN'T WANT HIM, HE DOESN'T WANT TO TALK TO HIM, SO FUCK YOU THAT HE ASKED THAT. THERE IS NO ONE BUT ME AND HIM.」
narrator:She breaks down, more, more, more.
 CUT TO:
 INT. STAIRWELL - THAT MOMENT (INTERCUT)
 Frank listens on the phone to dead air....hold a long moment, then: He hands the phone back to Doc;
Frank T.J. Mackey:「There's no one there.」


narrator:Frank walks away quick. CAMERA leads him out of the stairwell and down the hallway...HOLD ON HIS FACE CLOSE.
 CUT TO:
 INT. GAME SHOW STAGE - THAT MOMENT
 CAMERA (STEADICAM) follows Mary as she runs over to Jimmy.
 JIMMY Take me outta here, Mary...I gotta go, I gotta go home to Rose, please, please.
 She leads him away. CAMERA moves over to BURT who's dealing with the situation -- RICK comes running over, looking for Stanley. "Where is he? Where the fuck did he go?" Burt tries to calm him down.
 CANERA moves over to Cynthia who's dealing with Richard and Julia and Mim and Luis and Todd.
 CYNTHIA Let's go, c'mon, get up --
RICHARD:「Did we win or lose, I mean --?」


narrator:「CYNTHIA I don't know, Richard, they need to talk it over --
 LUIS You lost, kid. They go to the score at the time it was called --
 JULIA That's not an official rule.
 LUIS That's the way it goes.
 RICHARD Bullshit. Who says that, what rule book, in what sport? This is different, it's a quiz show, they don't go by sports rules --
 MIM Let's all just settle down --
 CYNTHIA Richard, shut it and keep it down.
 RICHARD If he hadn't pissed his pants, we woulda won. We fucking had this game.
 LUIS You didn't have shit, kid.
 CAMERA with Jimmy and Mary as they head off, down the HALLWAY and towards some elevators -- He's really out of it --
 CUT TO:
 INT. CLAUDIA'S APARTMENT - THAT MOMENT
 She sits in front of the coke and in front of the television.
 CU. TELEVISION IMAGE - THAT MOMENT
 A still card with the "What Do Kids Know?" logo and the credits still running. At the end a logo that reads:
 This has been a Big Earl Partridge Production
 CUT TO:
 EXT. WASH AREA/APARTMENT - DAY
 CAMERA (HAND HELD) with Jim Kurring. He's searches around frantic for his revolver....looking everywhere...RAIN IS POURING.
 He does tearful "cops" dial. Ref: "I'm not goin' back to the Station House without my god damn gun." etc.
 CUT TO:
 EXT. STREETS/BURBANK - THAT MOMENT
 CAMERA tracks with Stanley as he runs and runs down the streets in the RAIN. CAMERA holds a ECU as we move.
 CUT TO:
 EXT. SMILING PEANUT/PARKING AREA - THAT MOMENT
 Donnie walks out and gets in his car -- he goes to start it, but it won't start. HOLD outtside the car. Rain pouring down.
 He gets out and walks. A Pedestrian walking in to the bar recognizes him and smiles, says:
 PEDESTRIAN Smart Kid Donnie Smith! Quiz Kid! He.He.
 Donnie keeps walking straight past.
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 Linda is bedside with Earl. She cries her eyes out. She speaks to him in mumbles about "...sorry..." "...my love..." "...you've lived a long, good life..." She prepares the bottle of liquid morphine and sets it next to the him...HOLD.
 Earl comes out of it a bit, pets her head, mumbles a few words that don't make sense. Phil in the b.g. Linda can't administer the drops, she turns quickly to Phil;
 LINDA listen...listen to me now, Phil: I'm sorry, sorry I slapped your face. ...because I don't know what I'm doing... ...I don't know how to do this, y'know? You understand? y'know? I...I'm...I do things and I fuck up and I fucked up....forgive me, ok? Can you just...
 PHIL ....it's alright....
 LINDA Tell him I'm sorry, ok, yes, you do that, now, I'm sorry, tell him, for all the things I've done...I fucked up and I'm sorry.... And I'm Gonna Turn Away And Walk Now And Not Look At Him Not See My Man, My Earl, I'll leave now...and tell him it's ok and I'm ok. The whole thing was ok with me -- and I know.
 She turns quick and walks out of the house.
 HOLD ON PHIL. He paces around a moment or two, looks at the side table.
 CU - THE BOTTLE OF LIQUID MORPHINE. It's ready to go.
 CU - PHIL. He looks at it.
 CUT TO:
 INT. HOLIDAY INN - SEMINAR ROOM - THAT MOMENT
 CAMERA holds on the image of a slide that reads:
 How To Fake Like You Are Nice And Caring"
 Frank steps into FRAME. HOLD. OC we hear the audience applaud.
 FRANK Welcome back. Back from break. I hope you guys stayed away from those little nacho bits I saw out there... I know...I know...hey, you're not payin' for the snacks....
 Slight laughter. Frank slows down.
 FRANK "How To Fake Like You Are Nice and Caring." This is...obviously...quite an important section...I mean, let's face it...face the facts...Men Are Shit, right? I mean, that is what they all say. We've all done bad things...bad things that no woman has ever done...that's what they say. We As Men are taught to apologize: "I've done wrong." "I'm sorry." "My needs as a man made me..." Something, something...bullshit....well what I would like to say....
 Frank references some note cards, a bit of a daze is clear now:」


Frank T.J. Mackey:「If you feel, made to feel like you need them, like -- like you can't live if you're without them or you need, what? They're pussy? They're love? Fuck that. Self Sufficient, gents. That's the truth. What you are -- we are -- you need them for what? To fucking make you a piece of snot rag? A puppett? huh? Hear them bitch and moan? bitch and moan -- and we're taught one thing -- go the other way -- there is No Excuse I will give you, I'm not gonna apologize -- I'm not gonna apologize for my NEED my DESIRE...my, the things that I need as a man to feel comfortable... You understand? You understand? You need to say something, "my mommy hit me or daddy hit me or didn't let me play soccer, so now I make mistakes, cause a that -- something, so now I piss and shit on it and do this." Bullshit. I'm sorry. ok. yeah. no. fuck. go. fuck. alright. go make a new mistake. maybe not, I dunno...fuck....」


narrator:CUT TO:
 INT. JIMMY'S HOUSE - OFFICE - THAT MOMENT
 CAMERA moves in towards Jimmy, alone, sitting in his office, singing.
JIMMY GATOR:「You're sure there's a cure and you have finally found it"」
narrator:CUT TO:
 INT. DONNIE'S APARTMENT - THAT MOMENT
 CAMERA pushes in on Donnie smith as he starts to sing.
 DONNIE SMITH "You think....one drink...will shrink 'till you're underground and living down, but it's not going to stop..."
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 CAMERA DOLLIES in on Phil, holding back his tears and singing along to the song...as he sits over Earl....
PHIL:「It's not going to stop...it's not going to stop...."」
narrator:CAMERA moves over to Earl, eyes closed, starts to sing as well...
 EARL "...it's not going to stop 'till you wise up..."
 CUT TO:
 INT. EMPTY PARKING LOT - THAT MOMENT
 CAMERA DOLLIES in on LINDA. She's passed out in her car, head pressed against the glass, but she starts to sing along....
LINDA:「prepare a list of what you need before you sign away the deed, 'cause it's not going to stop..."」


narrator:CUT TO:
 INT. FRANK'S CAR - PARKED - THAT MOMENT
 CAMERA pushes in a bit on Frank, singing along.
 FRANK "...it's not going to stop...it's not going to stop....it's not gonna stop 'till you wise up, no it's not gonna stop..."
 CUT TO:
 INT. SCHOOL LIBRARY - THAT MOMENT
 CAMERA pushes in, (light coming up from the book he reads) optical, glimpse what he reads....then pulls back from STANLEY.
 STANLEY "..till you wise up, no it's not going to stop, so just....give up."
 PULL BACK.
 CUT TO:
 EXT. SKY - NIGHT
 Sequence I
 The rain stops. Suddenly and quickly it's over. Clear as a bell. HOLD.
 Title card:
 Weather information,etc.
 CUT TO:
 INT. CLAUDIA'S APARTMENT - STAIRWELL - NIGHT
 The door opens and Claudia looks really nice. Jim Kurring smiles and says hello.
 CUT TO:
 EXT. CLAUDIA'S APARTMENT - MOMENTS LATER
 Jim Kurring opens the door for Claudia and she gets in. He runs around and they drive off.
 CUT TO:
 INT. DONNIE'S APARTMENT - THAT MOMENT
 Donnie takes the KEYS and puts on big dark coat and looks in the mirror.
 DONNIE You know, you know, you know. Go,go,go.
 CUT TO:
 INT. DONNIE'S APARTMENT - STAIRWELL - THAT MOMENT
 Donnie knocks on his neighbor's door. A little OLD LADY opens up;
 LITTLE OLD LADY Donnie, oh, Donnie --
 DONNIE Hello, dear...I need a favor.
 CUT TO:
 EXT. DONNIE'S APARTMENT - CAR PORT - THAT MOMENT
 Donnie comes down and gets in the little old lady's Buick Regal and starts it up.
 CUT TO:
 EXT. EARL'S HOUSE - THAT MOMENT
 Frank gets out of his car and walks up to the house. He rings the doorbell.
 CUT TO:
 INT. EARL'S HOUSE - THAT MOMENT
 The DOGS go crazy barking. Phil walks away from Earl and answers the door. Frank standing there. Phil looks a bit surprised and fumbles a moment...They stand in doorway and speak very quietly;
 PHIL Hello. Frank. Frank TJ Mackey.
 FRANK ...are you Phil...?
 PHIL Yeah. I was trying to get in touch with you. We got dissconnected.
 FRANK I got your message. That you were trying to get me -- right?
 PHIL Yes. I didn't know how to find you. Earl asked me, so I looked through the adress books and there was no number, nothing --
Frank T.J. Mackey:「Is Linda here?」


narrator:PHIL She's not here, she went out. I'm sorry. This is all just so, I don't know what, what to do -- your Dad asked me to try and track you down. To get you and I did, I called the number -- Do you wanna come in?
 FRANK Yeah let's...maybe just stand.
 PHIL These Dogs'll calm down -- you just have to come in --
 He steps in the door and the dogs start to settle down a bit.
PHIL:「He's in here.」
narrator:FRANK Let's just wait one minute and stay here, okay?
PHIL:「Ok.」
narrator:BEAT. They stand in the foyer and the dogs eventually calm down and go away. BEAT.
 FRANK How long have you taken care of him?
 PHIL For six months. I'm the day nurse...
Frank T.J. Mackey:「Uh-huh. What's going on?」
narrator:PHIL He's...I'm sorry...so sorry...I've seen this before, you know and you don't.... He's going very fast....Frank...um....
Frank T.J. Mackey:「Is he in pain?」


narrator:PHIL I just...he was...but I gave him, I just had to give him a small dose of liquid morphine. He hasn't been able to swallow the morphine pills so we now, I just had to go to the liquid morphine... For the pain, you understand?
Frank T.J. Mackey:「uh-huh...」
narrator:BEAT. Silence, then:
 FRANK How long...you think?
 PHIL Um...soon tonight...I think, yes? Tommorrow...I mean...very soon...very...
 FRANK When did he go off chemo?
PHIL:「About three weeks ago.」
Frank T.J. Mackey:「have you ever seen this..I mean, never mind, you said --」
PHIL:「I work as a nurse, for a proffesion --」
narrator:FRANK Uh. huh.
PHIL:「I'm really sorry.」
narrator:FRANK He's in here --?
PHIL:「Yeah.」
narrator:Phil starts to guide him, Frank holds him back.
Frank T.J. Mackey:「No, let's just wait one minute, let's just stand here one minute or so --」
narrator:BEAT. They stand. HOLD.
PHIL:「I've heard your tapes on the phone.」


Frank T.J. Mackey:「Oh yeah.」
narrator:PHIL When they put me on hold, to talk to you...they play the tapes. I mean: I'd seen the commercials and heard about you, but I'd never heard the tapes ....
Frank T.J. Mackey:「Uh. huh.」
narrator:PHIL It's interesting.
Frank T.J. Mackey:「Mmm.」