Web Scraping — Part 1#
Inspired by web scraping lessons from Lauren Klein and Allison Parrish
In this series of lessons, we’re going to introduce how to “scrape” data from the internet with the Python libraries requests and BeautifulSoup.
We will cover how to:
Programmatically access the text of a web page
Understand the basics of HTML
Extract certain HTML elements
Why Do We Need To Scrape At All?#
To understand the significance of web scraping, let’s walk through the likely data collection process behind “Film Dialogue from 2,000 screenplays, Broken Down by Gender and Age”.
To find their 2,000 screenplays, Hannah Andersen and Matt Daniels consulted a number of already existing sources — one of which was the Cornell Movie Dialogues Corpus. This is a corpus created by Cornell CIS professors Cristian Danescu-Niculescu-Mizil and Lillian Lee for their paper “Chameleons in imagined conversations”. Go Big Red!
These researchers helpfully shared a dataset of every URL that they used to find and access the screenplays in their own project.
Import Pandas
import pandas as pd
Read in CSV file
urls = pd.read_csv("../data/cornell-movie-corpus/raw_script_urls.csv", delimiter='\t', encoding='utf=8')
Display DataFrame
urls
| id | movie_title | script_url | |
|---|---|---|---|
| 0 | m0 | 10 things i hate about you | http://www.dailyscript.com/scripts/10Things.html |
| 1 | m1 | 1492: conquest of paradise | http://www.hundland.org/scripts/1492-Conquest... |
| 2 | m2 | 15 minutes | http://www.dailyscript.com/scripts/15minutes.... |
| 3 | m3 | 2001: a space odyssey | http://www.scifiscripts.com/scripts/2001.txt |
| 4 | m4 | 48 hrs. | http://www.awesomefilm.com/script/48hours.txt |
| ... | ... | ... | ... |
| 612 | m612 | watchmen | http://www.scifiscripts.com/scripts/wtchmn.txt |
| 613 | m613 | xxx | http://www.dailyscript.com/scripts/xXx.txt |
| 614 | m614 | x-men | http://www.scifiscripts.com/scripts/xmenthing... |
| 615 | m615 | young frankenstein | http://www.horrorlair.com/scripts/young.txt |
| 616 | m616 | zulu dawn | http://www.aellea.com/script/zuludawn.txt |
617 rows × 3 columns
Each movie title in this CSV file is paired with a URL for the screenplay. How can we actually use these URLs to get computationally tractable text data?
Though we could manually navigate to each URL and copy/paste each screenplay into a file, that would be suuuuper slow and painstaking, and we would lose crucial data in the process — information that might help us automatically distinguish the title of the movie from the screenplay itself, for example. It would be much better to programmatically access the text data attached to every URL.
Responses and Requests#
To programmatically access the text data attached to every URL, we can use a Python library called requests.
When you type in a URL in your search address bar, you’re sending an HTTP request for a web page, and the server which stores that web page will accordingly send back a response, some web page data that your browser will render.
Import Requests#
import requests
Get HTML Data#
With the .get() method, we can request to “get” web page data for a specific URL, which we will store in a varaible called response.
response = requests.get("http://www.scifiscripts.com/scripts/Ghostbusters.txt")
HTTP Status Code#
If we check out response, it will simply tell us its HTTP response code, aka whether the request was successful or not.
“200” is a successful response, while “404” is a common “Page Not Found” error.
response
<Response [200]>
Let’s see what happens if we change the title of the movie from Ghostbusters to Ghostboogers in the URL…
bad_response = requests.get("http://www.scifiscripts.com/scripts/Ghostboogers.txt")
bad_response
<Response [404]>
Extract Text From Web Page#
To actually get at the text data in the reponse, we need to use .text, which we will save in a variable called html_string. The text data that we’re getting is formatted in the HTML markup language, which we will talk more about in the BeautifulSoup section below.
html_string = response.text
Here’s the screenplay now in a variable.
print(html_string)
Ghostbusters
by
Harold Ramis
and
Dan Aykroyd
Final Shooting Script
Last revised October 7, 1983
FADE IN
EXT. NEW YORK PUBLIC LIBRARY -- DAY
The sun shines brightly on the classic facade of the main library at Fifth
Avenue and 42nd Street. In the adjacent park area, pretty hustlers and
drug peddlers go about their business.
FRONT STEPS
A few people lounge on the steps flanked by the familiar stone lions.
INT. MAIN READING ROOM -- DAY
People are dotted throughout the room sitting at the long oak tables
polished by decades of use. Reading lamps with green glass shades cast a
golden glow on the tables. The patina of age is everywhere. It is very
quiet.
LIBRARIAN
A slightly stout, studious looking girl in her late twenties circulates
quietly among the tables picking up books and putting them on her cart.
Everything seems completely normal and peaceful.
POV
A single eerie musical note signals the presence of something strange
looking down on the Librarian from a vantage point high above the room.
It follows the Librarian as she pushes her cart around the corner.
INT. WORK AREA
The Librarian is alone in a back room sorting books for reshelving.
Behind her is the card catalogue. One of the books attracts her interest
and she starts leafing through it.
THE CARD CATALOGUE
Another eerie note is heard as one of the drawers silently slides open
behind the Librarian and hundreds of index cards start popping out. The
Librarian continues reading completely oblivious to this strange
phenomenon.
She gets up and moves past another row of cabinets. Two more drawers
quietly slide open, and thousands of file cards start shooting out of the
open drawers just behind her, but the Librarian still doesn't notice.
THE STACKS
The Librarian works her way through rows and rows of old iron shelves
containing many thousands of volumes stacked from floor to ceiling. As
she puts the books back in their proper places, she slowly gets the
feeling that she's being watched. She continues her task but suddenly
hears a scratching noise and stops.
LIBRARIAN
(puzzled)
Hello? Is anybody there?
A ROW OF BOOKS
As the Librarian walks down the aisle, books start shooting off the shelf
behind her. She turns suddenly and sees the fallen books.
THE LIBRARIAN
Frightened now, she walks slowly to the end of the aisle and tentatively
peeks around the corner. Seeing no one, she starts to scratch her head
and suddenly a dozen books fly off the shelf right in front of her and
fall to the floor.
LIBRARIAN
(frightened)
All right! Who's there? Lyle? Is that you?
Very slowly now, her heart pounding, the Librarian tiptoes to the other
end of the aisle. She gets to the corner and starts to peek around it,
afraid to look but unable to resist.
INT. THE NEXT AISLE -- DAY
The Librarian comes slowly around the end of the stacks and gets her first
look at the thing that's been watching her. Her eyes go very wide and her
mouth opens in horror. She screams.
EXT. COLUMBIA UNIVERSITY -- DAY
Students are entering and leaving a neo-Gothic building on the
University's upper west side campus. A sign identifies the building as:
Weaver Hall -- Department of Psychology.
INT. BASEMENT -- WEAVER HALL -- DAY
At one end of the dingy corridor is a door marked PARANORMAL STUDIES
LABORATORY. A sign dangles from the doorknob: Maid -- Please Make Up This
Room. Scrawled across the door is a line of student graffiti that reads:
"Venkman Burn In Hell!" It looks like it's been written in blood.
VENKMAN (V.O.)
Now I'm going to turn over the next card and
I want you to concentrate and tell me what
you think it is.
INT. PARANORMAL STUDIES LAB -- SAME TIME - DAY
DR. PETER VENKMAN is administering an ESP test to two student volunteers,
a boy and a girl, who sit across the table from him separated from each
other by a screen.
Venkman is an associate professor but his rumpled suit and the manic gleam
in his eyes indicate an underlying instability in his nature. However,
while a little short on academic credentials, Venkman is long on
confidence, charm and salesmanship.
He turns to the male volunteer, an obnoxious SOPHOMORE, and pulls out a
card from the standard deck of ESP symbols. The card is visible to the
camera over Venkman's shoulder but hidden from the sophomore by a masonite
board that rests between them on the table. The card shows a star symbol
on it.
VENKMAN
All right. What is it?
SOPHOMORE
(concentrates)
A square?
VENKMAN
(shakes his head)
Good guess -- but no.
He shows the Sophomore the star card then presses a button on the table
which administers a mild electric shock to the volunteer. The Sophomore
twitches involuntarily as the shock passes through the electrode attached
to his fingertips. Then Venkman turns to the female volunteer, a very
beautiful COED.
VENKMAN
Now just clear your mind and tell me what
you see.
He turns over a card with a circle on it.
COED
(thinks hard)
Is it a star?
VENKMAN
(feigning surprise)
It is a star! That's great. You're very
good.
The Coed beams proudly as Venkman turns back to the Sophomore without
showing her the card.
VENKMAN
(to the Sophomore)
Now think.
He turns up the diamond card.
The Sophomore glances nervously at the electrodes, then ventures a guess.
SOPHOMORE
Circle?
VENKMAN
Close -- but definitely wrong.
He shocks him again and swivels around to face the Coed.
VENKMAN (CONT'D)
Ready?
(she nods and he turns up
the triangle card)
What is it?
COED
(biting her lip)
Ummm -- figure eight?
VENKMAN
(lies)
Incredible! Five for five. You're not
cheating on me here, are you?
COED
(amazed at her own ability)
No. They're just coming to me.
VENKMAN
Well, you're doing great. Keep it up.
He turns back to the Sophomore who winces as the next card is turned
up -- two parallel wavy lines.
VENKMAN (CONT'D)
Nervous?
SOPHOMORE
Yes. I don't like this.
VENKMAN
Well, just 75 more to go. What's this one?
SOPHOMORE
(takes a deep breath)
Two wavy lines?
VENKMAN
(burying the card)
Sorry. This isn't your day.
He zaps him again but this time the Sophomore really jumps.
SOPHOMORE
(angry)
Hey! I'm getting a little tired of this.
VENKMAN
You volunteered, didn't you? Aren't we
paying you for this?
SOPHOMORE
Yeah, but I didn't know you were going to
give me electric shocks. What are you
trying to prove?
VENKMAN
I'm studying the effect of negative
reinforcement on ESP ability.
SOPHOMORE
I'll tell you the effect! It pisses me off!
VENKMAN
Then my theory was correct.
The Sophomore gets up, pulls the electrodes off his fingertips and exits.
SOPHOMORE
(as he goes)
Keep the five bucks. I've had it!
Venkman turns back to the Coed and shrugs.
VENKMAN
Well, I guess some people have it and some
don't.
COED
(provocatively)
Do you think I have it, Dr. Venkman?
VENKMAN
Definitely. I think you may be a very
gifted telepath.
Suddenly the door opens and RAY STANTZ enters.
STANTZ
He is Venkman's colleague and best friend. A hard scientist with a good
academic background, Stantz is a maverick who genuinely loves a challenge.
At the moment, he seems really keyed up.
STANTZ
Drop everything, Venkman. We got one.
He starts rummaging through cabinets and drawers, gathering up a variety
of electronic devices.
VENKMAN
He frowns at the intrusion and turns to the Coed.
VENKMAN
Excuse me for a minute.
(he crosses to Stantz)
Ray, I'm right in the middle of something
here. Can you come back in about an hour?
STANTZ
(excited, but hushed and
confidential)
Peter, at 1:40 this afternoon at the main
branch of the New York Public Library on
Fifth Avenue, ten people witnessed a
free-roaming, vaporous, full-torso
apparition. It blew books from shelves at
twenty feet away. Scared the socks off some
poor librarian.
VENKMAN
(unimpressed)
Sure. That's great, Ray. I think you
should get down there right away and check
it out. Let me know what happens.
STANTZ
(insistent)
No, this one's for real, Peter. Spengler
went down there and took some PKE readings.
Right off the top of the scale. Buried the
needle. We're close this time. I can feel
it.
Venkman looks at Stantz, then back at the Coed, torn between duty and
pleasure.
VENKMAN
(decides)
Okay. Just give me a second here.
(he crosses back to the
Coed)
I have to leave now but if you've got some
time I'd like you to come back this evening
and do some more work with me.
COED
Eight o'clock?
VENKMAN
(lying again)
I was just going to say "eight." You're
fantastic!
He waves good-bye and exits with Stantz.
EXT. PUBLIC LIBRARY -- DAY
Venkman and Stantz arrive in a taxi and trot up the front steps. Stantz
is loaded down with equipment.
STANTZ
Spengler and I have charted every psychic
occurrence in the Tri-State area for the
past two years. The graph we came up with
definitely points to something big.
VENKMAN
Ray, as your friend I have to tell you I
think you've really gone around the bend on
this ghost stuff. You've been running your
ass off for two years checking out every
schizo in the Five Boroughs who thinks he's
had an experience. And what have you seen?
STANTZ
What do you mean by "seen?"
VENKMAN
Looked at with your eyes.
STANTZ
Well, I was at an unexplained multiple
high-altitude rockfall once.
VENKMAN
Uh-huh. I've heard about the rockfall, Ray.
I think you've been spending too much time
with Spengler.
INT. MAIN READING ROOM -- DAY
EGON SPENGLER is looking for spirits when Venkman and Stantz arrive.
Spengler is a real egghead, a New Wave Mr. Spock, who single-handedly got
Venkman through graduate school. Spengler is incredibly intelligent but
amazingly dense at the same time. At the moment he is listening to a
table using a stethoscope connected to stereo earphones. Venkman comes up
behind him and taps on the table to get his attention.
VENKMAN
Egon?
Spengler hears the tapping and thinks he's made contact with the spirit
world. Then Venkman slams a heavy book down on the table.
VENKMAN (CONT'D)
Egon!
Spengler jumps at the deafening noise in his earphones and turns to see
Venkman and Stantz.
SPENGLER
Oh! You're here.
VENKMAN
What have you got, Egon?
SPENGLER
Oh, this is big, Peter. This is very big.
There's definitely something here.
VENKMAN
Egon, somehow this reminds me of the time
you tried to drill a hole in your head. Do
you remember that?
HEAD LIBRARIAN
A choleric, middle-aged civil servant, MR. DELACORTE, hurries over to meet
them.
HEAD LIBRARIAN
(nervous)
Hello, I'm Roger Delacorte - the Head
Librarian. Are you the men from the
University?
VENKMAN
Yes. I'm Dr. Venkman and this is Dr. Stantz.
HEAD LIBRARIAN
(leads them off)
Thank you for coming. I'd appreciate it if
we could take care of this quickly and quietly.
VENKMAN
One thing at a time. We don't even know
what it is yet.
INT. AN OFFICE -- A LITTLE LATER
Venkman is questioning the plump Librarian who saw the spirit, while a
Paramedic continues treating her for shock.
LIBRARIAN
I don't remember seeing any legs, but it
definitely had arms because it reached for
me.
STANTZ
(excited)
Arms! Great! I can't wait to get a look
at this thing.
Venkman glowers at him, still skeptical.
VENKMAN
(to the girl)
All right, miss. Have you or has any member
of your family ever been diagnosed
schizophrenic or mentally incompetent?
LIBRARIAN
Well, my uncle thought he was St. Jerome.
VENKMAN
(looks at Stantz)
I'll call that a big "yes."
(to the girl)
Do you yourself habitually use drugs,
stimulants or alcohol?
LIBRARIAN
No.
VENKMAN
I thought not. And one last thing. Are you
currently menstruating?
HEAD LIBRARIAN
(shocked)
What's that got to do with it?
VENKMAN
(snaps)
Back off, man! I'm a scientist!
THE DOOR
Spengler sticks his head in.
SPENGLER
(excited)
It's moving!
Stantz and Venkman rush out.
INT. DEEP IN THE STACKS -- DAY
They come slowly down the dark aisle with Spengler leading, taking
constant readings. Their faces are lit mainly by the light of their own
monitoring and recording equipment.
HIGH POV
Looking down on them from the spectral point of view.
A SPIRAL STAIRCASE
One by one, Venkman, Stantz and Spengler come down the tightly winding,
old iron staircase. They are scared. Books are strewn all over the
floor.
A BOOKSHELF
The books start to slide forward then the whole shelving unit topples over
and almost crushes the team under a ton of books. They jump to safety.
VENKMAN
Nice.
(out loud)
Hello...
Spengler looks at his meters and silently points at a dark aisle
intersecting the one they're in. The team inches toward it.
SPENGLER
It's here.
They stop at the corner.
INT. THE DARK AISLE -- DAY
The team peeks around the corner and looks toward camera.
THEIR POV -- DAY
An ethereal presence is hovering between the stacks about four feet off
the ground. It seems to waver on the edge of being and non-being, then a
large legless, headless torso begins to emerge.
VENKMAN, STANTZ AND SPENGLER
They stand there amazed.
STANTZ
(whispers)
What is it?
VENKMAN
It looks like a big pair of breasts and a
pot belly.
THE TORSO -- DAY
A head and arms begin to form. The apparition is now unmistakably a
full-bodied, somewhat elderly lady.
SPENGLER
It's a woman.
He edges closer to take valence readings. Stantz starts snapping
infra-red photos of it.
STANTZ
(excited)
I told you it's real.
VENKMAN
(whispers)
What do we do now?
STANTZ
(whispers back)
I don't know. Talk to it.
VENKMAN
(nods in agreement then
hesitates)
What do I say?
STANTZ
Anything! Just make contact.
VENKMAN
(takes a deep breath, then
addresses the specter)
Hey, Lady?
(the apparition turns and
seems to look right past
them)
Lady! Can you talk? Who are you?
(no answer)
(to Stantz)
This is not working. Think of something else.
STANTZ
(sotto voce)
Okay. Okay. I got it. I know what to do.
Stay close. I have a plan.
He starts moving closer to the apparition. Venkman and Spengler edge
closer, fighting their fear. They stop just a few feet from the vision.
STANTZ (CONT'D)
(whispers)
Okay, now do exactly as I say. Everybody
ready?
VENKMAN & SPENGLER
Ready.
STANTZ
Okay...
(shouts)
GET HER!!!
He leaps at the apparition. Venkman and Spengler jump reflexively at
almost the same moment but they all end up on the floor grabbing at thin
air.
THE GHOST -- DAY
She drops back a few feet, looms up into a raging demonlike specter and
blasts them with a rush of hot breath as she mouths a single word.
THE GHOST
(roars)
QUIET!
VENKMAN, STANTZ AND SPENGLER
They scream and fall backwards.
EXT. LIBRARY -- MAIN ENTRANCE - DAY
They burst through the doors and onto the broad steps, both terrified and
exhilarated by their first real contact with the supernatural. The Head
Librarian rushes out the door after them and chases them down the steps.
HEAD LIBRARIAN
(very agitated)
Did you see it? What was it?
VENKMAN
We'll get back to you.
EXT. COLUMBIA UNIVERSITY -- DAY.
Venkman, Stantz and Spengler head for their lab in Weaver Hall. Spengler
makes rapid calculations as Venkman and Stantz argue.
VENKMAN
(steamed)
"Get her?" That was your whole plan? You
call that science?
STANTZ
(exultant)
I guess I got a little overexcited. Wasn't
it incredible! I'm telling you, this is a
first. You know what this could mean to the
University?
VENKMAN
(sarcastic)
Oh, yeah. This could be bigger than the
microchip. They'll probably throw out the
entire engineering department and turn their
building over to us. We're probably the
first serious scientists to ever molest a
dead old lady.
SPENGLER
(consulting his
mini-computer)
I wouldn't say the experience was completely
wasted. Based on these new readings, I
think we have an excellent chance of
actually catching a ghost and holding it
indefinitely.
Venkman stops dead in his tracks, stunned by the news. Stantz and
Spengler continue walking.
STANTZ
(to Spengler; excited)
Then we were right! This is great. And if
the ionization rate is constant for all
ectoplasmic entities, I think we could
really kick ass -- in the spiritual sense.
Venkman catches up with them again.
VENKMAN
Spengler, are you serious about actually
catching a ghost?
SPENGLER
I'm always serious.
VENKMAN
(his mind reeling at the
possibilities)
Wow!
EXT. WEAVER HALL -- A LITTLE LATER
They approach the entrance to the psychology department talking excitedly.
Venkman stops at the door and turns to Spengler.
VENKMAN
Egon, I take back everything I ever said
about you. Take this.
(he hands him a candy bar)
You earned it.
They enter the building with Spengler greedily devouring the candy bar.
INT. WEAVER HALL -- DAY
They walk through the hall, then down the stairs to the basement.
VENKMAN
(his mind racing)
If you guys are right, if we can actually
trap a ghost and hold it somehow, I think I
could win the Nobel Prize.
STANTZ
(protests)
If anyone deserves it, it's Spengler and me.
We're doing all the hard research and
designing the equipment.
VENKMAN
Yeah, but I introduced you guys. You never
would've met if not for me. That's got to
be worth something.
INT. THE BASEMENT -- DAY
A Workman in painter pants is at the door as Venkman, Stantz and Spengler
approach and enter the lab. As soon as the door closes behind them, the
Workman starts scraping their names off the door with a razor blade.
INT. THE LAB -- DAY
As they enter, janitorial and maintenance personnel are busy dismantling
their apparatus and equipment. DEAN YAEGER is supervising. Venkman
confronts him.
VENKMAN
(shocked)
I trust you're moving us to a better space
somewhere on campus.
DEAN YAEGER
No, we're moving you OFF CAMPUS. The Board
of Regents has decided to terminate your
grant. You are to vacate these premises
immediately.
VENKMAN
This is preposterous! I demand an
explanation.
DEAN YAEGER
Fine. This University will no longer
continue any funding of any kind for your
group's activities.
VENKMAN
But why? The students love us!
DEAN YAEGER
Dr. Venkman, we believe that the purpose of
science is to serve mankind. You, however,
seem to regard science as some kind of
"dodge" or "hustle." Your theories are the
worst kind of popular tripe, your methods
are sloppy and your conclusions are highly
questionable. You're a poor scientist, Dr.
Venkman, and you have no place in this
department or in this University.
VENKMAN
I see.
STANTZ
(to Venkman)
You said you floored 'em at the Regents'
meeting.
VENKMAN
(righteous)
Ray, I apologize.
(looking at Dean Yaeger)
I guess my confidence in the Regents was
misplaced. They did this to Galileo, too.
DEAN YAEGER
It could be worse, Dr. Venkman. They took
the astronomer Phileas and staked his head
to the town gate.
EXT. COLUMBIA UNIVERSITY -- DAY -- A LITTLE LATER
Stantz and Venkman are sitting on a bench both looking desolate.
STANTZ
(shaking his head)
This is like a major disgrace. Forget
M.I.T. or Stanford now ... they wouldn't
touch us with a three-meter cattle prod.
VENKMAN
You're always so worried about your
reputation. We don't need the University.
Einstein did his best stuff while he was
working as a patent clerk.'They can't stop
progress.
STANTZ
(not cheered)
Do you know what a patent clerk makes? I
liked the University. They gave us money,
they gave us the facilities and we didn't
have to produce anything! I've worked in
the private sector. They expect results.
You've never been out of college. You don't
know what it's like out there.
VENKMAN
(with visionary zeal)
Let me tell you, Ray, everything in life
happens for a reason. Call it fate, call
it luck, Karma, whatever. I think we were
destined to get kicked out of there.
STANTZ
For what purpose?
VENKMAN
(with real conviction)
To go into business for ourselves.
Stantz is immediately intrigued by the idea but voices his reservations.
STANTZ
I don't know. That costs money. And the
ecto-containment system we have in mind will
require a load of bread to capitalize.
Where would we get the money?
EXT. WIDE ANGLE VIEW OF MANHATTAN -- DAY
EXT. AVENUE OF THE AMERICAS -- DAY
Venkman, Stantz and Spengler emerge from the Irving Trust headquarters,
all neatly dressed in suits.
VENKMAN
You'll never regret this, Ray.
STANTZ
(perturbed)
My parents left me that house, I was born
there.
VENKMAN
You're not going to lose the house.
Everybody has three mortgages these days.
STANTZ
But at nineteen percent interest! You didn't
even bargain with the guy.
SPENGLER
(calculating)
Just for your information, Ray, the interest
payments alone for the first five years come
to over $75,000.
VENKMAN
Will you guys relax? We are on the
threshold of establishing the indispensable
defense science of the next decade -
Professional Paranormal Investigations and
Eliminations. The franchise rights alone
will make us wealthy beyond your wildest
dreams.
STANTZ
But most people are afraid to even report
these things.
VENKMAN
Maybe. But no one ever advertised before.
Stantz and Spengler exchange doubtful looks.
EXT. FIREHALL -- DAY
An abandoned brick, four-story fire station built by the city around the
turn of the century. It bears a coat of faded red paint and legend above
the garage door in chipped gilt letters: Engine Company #93. The garage
doors open revealing Venkman standing in the white-tiled garage bay with a
middle aged REAL ESTATE WOMAN wearing a blazer.
INT. GARAGE BAY -- DAY
Venkman is looking around.
R/E WOMAN
Besides this, you've got another substantial
work area on the ground floor, office space,
sleeping quarters and showers on the next
floor, and you have your full kitchen on the
top level. It's 10,000 square feet total.
SPENGLER
He comes out of the office area with a pocket calculator.
SPENGLER
It's 9,642.55 square feet.
The Realtor frowns at Spengler.
R/E WOMAN
What is he -- your accountant?
STANTZ
He is looking at the shiny brass fire pole.
STANTZ
(shouts, loving it)
Wow! Does this pole still work?
VENKMAN
(considering but not
wanting to appear too
eager)
This might do ... I don't know ... it just
seems kind of "pricey" for a fixer-upper,
don't you think? We're trying to keep our
costs down. You know how it is when you're
starting a new company.
R/E WOMAN
Yes, I know. What are you calling your
business?
STANTZ
Ghostbusters.
R/E WOMAN
Oh, well, this place is perfect for it.
EXT. UPPER WEST SIDE -- DAY
A high panoramic view of the city shows heavy traffic moving up and down
Central Park West on a beautiful sunny day.
EXT. 78th AND CENTRAL PARK WEST -- DAY
An unusual pre-war Gothic high-rise towers over the neighborhood
buildings. The top of the building includes an elaborate decorative
temple, complete with altar, stairs and Babylonian columns. The late
afternoon sun gives the structure an oddly menacing quality. The camera
PANS slowly down to the street as DANA BARRETT, an attractive woman in her
late twenties, comes walking up to the building carrying a cello case and
a shopping bag full of groceries. Guys on the street check her out as she
enters, but she coolly ignores them.
INT. HIGH-RISE APARTMENT BUILDING -- LOBBY -- DAY
Dana crosses the lobby and gets into the elevator.
INT. THIRTY FIFTH FLOOR -- DAY
Dana gets off the elevator and goes to the door of her apartment. As she
unlocks it, the door to the next apartment opens and Dana's neighbor,
LOUIS TULLY, peeks his head out the door. Louis is a shy nerd, hopelessly
in love with Dana.
LOUIS
Oh, Dana, it's you ...
DANA
(she's seen this before)
Hi, Louis.
LOUIS
... I thought it was the drug store.
DANA
Are you sick, Louis?
Louis has broken the ice. He confidently exits his apartment and
approaches Dana. His door slams behind him as he leaves.
LOUIS
Oh, no, I feel great. I just ordered some
more vitamins. I see you were exercising.
So was I. I taped "20 Minute Workout" and
played it back at high speed so it only took
ten minutes and I got a really good workout.
You wanna have a mineral water with me?
DANA
No thanks, Louis. I'm really tired. I've
been rehearsing all morning.
LOUIS
Okay. I'll take a raincheck. I always have
plenty of mineral water and other nutritious
health foods, but you know that. Listen,
that reminds me, I'm having a party for all
my clients. It's gonna be my fourth
anniversary as an accountant. I know you
fill out your own tax return, but I'd like
you to come being that you're my next door
neighbor and all ...
DANA
Oh, that's nice, Louis. I'll stop by if
I'm around.
LOUIS
You know you shouldn't leave your TV on so
loud when you go out. That creep down the
hall phoned the manager.
DANA
I thought I turned it off.
(she listens and hears
loud sound coming from
inside)
I guess I forgot.
Dana begins unlocking her door.
LOUIS
I climbed on the window ledge to see if I
could disconnect the cable but I couldn't
reach so I turned up the sound on my TV real
loud so they'd think there was something
wrong with everybody's TV. You know, you
and I should really have keys to each
other's apartment ...
Her door closes leaving Louis stranded. He walks back to his apartment
muttering to himself.
LOUIS (CONT'D)
... in case of emergencies ...
(he discovers he has
locked himself out of his
apartment)
... like this one.
DANA' S APARTMENT -- DAY
A roomy, two-bedroom flat with a great view of the park.
She leaves the cello in the entrance hall, grabs the bag of groceries and
goes through the living room toward the kitchen.
Remembering Louis, she stops at the TV set to turn it off, but a strange
image on the screen catches her attention.
TV SCREEN
INT. CHILDREN'S BEDROOM -- NIGHT
Two children, a BOY and a GIRL, are asleep in bed when suddenly they are
awakened by supernatural moaning and groaning.
THE CHILDREN
They scream and jump out of bed.
THE DOOR
Their MOTHER and FATHER, rush in to find the children cowering against the
wall.
FATHER
What is it? What's wrong?
THE KIDS
Look!
They point at the closet.
MOTHER
(to Father)
Oh, dear. It's that darn ghost again.
Can't you do something about it.
FATHER
(helpless)
I've tried everything, honey! I guess we'll
just have to move.
The mother and the kids look at him with disappointment.
MOTHER
Gee, there must be a better way.
Stantz steps into the foreground.
STANTZ
Are you troubled by strange noises in the
night? Do you experience feelings of dread
in your basement or attic? Have you or your
family actually seen a spook, specter or
ghost? If the answer is yes, then don't
wait another minute. Just pick up the phone
and call the professionals -- Ghostbusters.
EXT. FIREHALL
Venkman, Stantz and Spengler are standing in front of the Ghostbusters'
sign. Spengler steps forward.
SPENGLER
(to camera)
Our courteous and efficient staff is on call
24 hours a day to serve all your supernatural
elimination needs.
INT. RECEPTION AREA
Janine is seen answering the telephone with a big fake smile on her face.
JANINE
(cheery)
Ghostbusters. We'll be right there.
INT. CHILDREN'S BEDROOM
Spengler is taking PKE readings along the baseboards. Stantz pops up from
under the bed.
STANTZ
(smiling proudly)
Got him! I don't think you'll have any more
trouble with that ghost.
FATHER, MOTHER AND VENKMAN
They all look as pleased as punch as Venkman hands the Father a bill.
FATHER
(looks at the total)
And it's economical, too!
MOTHER
How can we ever thank you?
VENKMAN
(big, cheesy smile)
All in a day's work, ma'am. After all ...
(to camera)
... We're Ghostbusters.
(he winks)
EXT. FRONT DOOR
Mother, Father and Kids wave goodbye to the Ghostbusters.
THE FAMILY
(sings)
If you have a ghost,
But you don't want to play host,
You can't sleep at all,
So who do you call ...
Ghostbusters - Ghostbusters.
VENKMAN, STANTZ AND SPENGLER
They smile at the camera as a phone number is supered on the screen.
GHOSTBUSTERS
(in unison)
We're ready to believe you,
Dana turns off the TV set and goes into the kitchen.
INT. KITCHEN
Dana switches on the radio and starts unpacking groceries. She sets a
loaf of bread and a carton of eggs on the counter and begins putting other
items away in the pantry.
THE EGGS
The top of the carton pops open. Then, one by one, the eggs erupt and
spill over onto the counter. As the liquid contents hit the countertop
they sizzle. The eggs begin to fry on the formica surface.
DANA
She hears the sizzle, turns and sees the eggs frying. She gasps, then
recovers and inspects the mess. She touches the counter gingerly, but
it's not at all hot. Deeply perplexed, she stands there trying to think of
an explanation. Then a strange new sound attracts her attention and she
turns around to see where it's coming from.
Dana hears the sound of muffled chanting coming from the fridge. She
pulls the door open and gets the shock of her life. The inside of the
fridge has been transformed into the Gateway to another Realm -- a fiery
path leading to a temple door. On each side of the door is a strange,
snarling creature that could best be described as a TERROR DOG. Their
front claws are raised toward each other in a symbolic pose. The
incredible vision is accompanied by the unearthly chanting.
DANA
She stands there transfixed by horror, the flames reflecting in her eyes.
THE FRIDGE
The chanting gets more frenetic and ominous as the temple doors slowly
begin to open.
DANA
She is paralyzed.
THE TEMPLE DOORS
They continue to open. We feel a terrible presence within.
THE PRESENCE
(whispers loudly and
hoarsely)
ZUUL!!!
DANA
She screams and slams the refrigerator door. Instantly, everything is
normal again. She looks around the room.
THE EGGS
They are back in the carton, unbroken.
DANA
Fighting her fear, she turns back to the fridge and very slowly reaches
for the handle. Then summoning all her courage, she yanks open the door.
Ketchup, mustard, bottles of vitamins and other food items fall out of the
rack on the inside of the refrigerator door. Dana sighs with relief as
she sees nothing but the cool white porcelain interior of the fridge. She
closes the door and stands there for a moment still shaken by the vision.
Then she shakes her head and leaves the kitchen.
EXT. FIREHALL -- DAY
The garage bay door is open. Two painters on scaffolding are completing a
paint job on the front of the structure in flat black paint. A carpenter
finishes hanging a sign over the door. It reads: GHOSTBUSTERS.
Then Stantz comes driving up in a very long, gold 1959 Cadillac ambulance
and turns into the garage bay of the firehall. The car has a battered look
to it and rumbles noisily due to a broken muffler.
INT. GARAGE BAY -- DAY
Stantz hits the siren and flashes the emergency lights as he drives in.
Venkman crosses to the car as Stantz jumps out enthusiastically.
STANTZ
Everybody can relax. I found the car. How
do you like it?
VENKMAN
(not terribly pleased)
Do you think it's wide enough? How much?
STANTZ
Fourteen hundred.
Venkman steps on the front bumper and rocks it. It wallows badly.
STANTZ
Just needs a little suspension work ... And
a muffler ... And maybe brakes.
RECEPTION AREA -- DAY
A bored-looking red-headed young woman, JANINE MELNITZ, sits in a swivel
chair behind the reception desk, putting another coat of red polish on her
heavily lacquered nails. Spengler is on his hands and knees wiring up the
telephone system.
JANINE
(with a definitive Queens
accent)
You're very handy, I can tell. I bet you
like to read a lot, too.
SPENGLER
(looks up)
Print is dead.
JANINE
That's very fascinating to me. I read a
lot myself. Some people think I'm too
intellectual. But I think reading is a
fabulous way to spend your spare time.
(he doesn't answer)
I also play racketball. Do you ever play?
SPENGLER
Is that a game?
JANINE
It's a great game! You should play
sometime. I bet you'd be good. You seem
very athletic. Do you have any hobbies?
SPENGLER
I collect spores, molds and fungus.
JANINE
Oh, that's very - unusual.
SPENGLER
I think it's the food of the future.
JANINE
Remind me not to go to lunch with you.
THE DOOR
Dana Barrett enters ance looks around hesitantly,
VENKMAN
He springs into action.
VENKMAN
(all charm)
Hello. I'm Peter Venkman. May I help you?
DANA
Yes ... well ... I'm not sure. What I have
to say may sound a little ... unusual.
VENKMAN
We're all professionals here, Miss ...
DANA
Barrett. Dana Barrett.
They walk toward the inner office.
VENKMAN
Why don't you step into the office and we'll
talk about it.
(to Janine)
Hold all my calls, Janine.
JANINE
What calls?
Venkman frowns and exits with Dana.
INSERT -- TV MONITOR -- LATER
Dana is seen in close-up on a TV screen as she finishes telling about her
experience.
DANA
... and then I opened the door again but it
was gone. There was nothing there.
VENKMAN
(off-camera)
So what do you think it was?
INT. OFFICE -- SAME TIME
Dana is hooked up to a lie detector. Spengler is monitoring the readout
and videotaping the interview. Venkman and Stantz are listening intently,
waiting for Dana's assessment of her experience.
DANA
(after a long pause)
I think something in my refrigerator is
trying to get me.
Venkman stares at her, trying to make sense of her last statement.
VENKMAN
Generally, you don't see that kind of
behavior in a major appliance. What do you
think, Egon?
SPENGLER
(checking the polygraph)
She's telling the truth -- or at least she
thinks she is.
DANA
(defensive)
Why would anyone make up a thing like that?
VENKMAN
Some people like the attention. Some people
are just crazy.
STANTZ
(muses)
You know, Peter, this could be a past life
experience intruding on the present.
SPENGLER
Or even a race memory, stored in the
collective unconscious. And I wouldn't rule
out clairvoyance or telepathic contact either.
Dana starts laughing. They all regard her curiously.
DANA
(trying to be serious)
I'm sorry. It's just that I don't believe
in any of these things. I don't even know
my sign.
SPENGLER
(checks his notes)
You're a Scorpio with your moon in Leo and
Aquarius rising.
DANA
Is that good?
VENKMAN
It means you're bright, ambitious, outgoing
and very, very sexy,
Dana looks at Venkman, flattered by the remark but more than a little
suspicious of his motives.
DANA
Is that your professional opinion?
VENKMAN
It's in the stars.
STANTZ
Why don't I check out the building? It may
have a history of psychic turbulence.
VENKMAN
Good idea.
(to Dana)
Were any other words spoken that you
remember?
DANA
No, just that one word -- Zuul -- but I have
no idea what it means.
VENKMAN
Spengler, see if you can find the word
"Zuul" in any of the literature. I'll take
Miss Barrett home and check out her apartment.
INT. DANA'S APARTMENT -- LATER THAT AFTERNOON
The door opens and Dana enters the darkened flat with Venkman. She
switches on the light and leads him to the living room.
VENKMAN
Have you ever thought of moving out -- at
least until this disturbance blows over?
DANA
No. If I moved out now I'd be acknowledging
that what happened was real. I'm not ready
to do that.
Venkman sees the cello leaning up against the wall.
VENKMAN
You play the cello! It's my favorite
instrument.
DANA
Really? Do you have a favorite piece?
VENKMAN
(thinks)
I'd have to say Prokofiev's third concerto.
DANA
That's a violin concerto.
VENKMAN
Yeah, but it's got a great cello break.
He grabs the cello and starts playing it like a stand-up base. Dana takes
the instrument out of his hands and gently puts it back in the case.
DANA
You really don't act like a scientist.
VENKMAN
No? What do I act like?
DANA
Like a used car salesman.
VENKMAN
Thanks.
(he gets down to business
and starts looking around
the apartment)
What's in there?
He points to a door.
DANA
That's the bedroom, but nothing ever
happened in there.
She takes off her jacket.
VENKMAN
(noticing her body)
That's too bad.
DANA
What?
VENKMAN
Nothing. Is that the kitchen?
He points to another door.
DANA
(nods)
Uh-huh.
VENKMAN
Well, let's check it out.
DANA
I'll wait here if you don't mind.
He enters the kitchen.
INT. THE KITCHEN -- DAY
The room is a real mess. Utensils are lying all over the floor. The
cabinets and walls are splattered with food.
VENKMAN
(calls out)
You're quite a housekeeper.
DANA
(off-camera)
I told you, I ...
VENKMAN
I know. It happened by itself.
He scans the room with his monitoring device.
VENKMAN (CONT'D)
Nothing.
He looks in a couple of cabinets, then confronts the refrigerator. With
mild trepidation he grasps the door handle, then suddenly jerks it open.
The handle comes off in his hand.
VENKMAN (CONT'D)
Damn!
DANA
(off-camera)
Are you all right?
VENKMAN
Yeah, yeah.
He grips the side of the fridge door and pulls it open.
INT. LIVING ROOM - DAY
Dana stands there nervously watching the kitchen door. Finally, it opens
and Venkman comes out munching an apple.
VENKMAN
There's nothing there now and I don't get
any significant readings.
DANA
This is terrible. Either there's a monster
in my kitchen or I'm completely crazy.
VENKMAN
If it's any comfort to you, I don't think
you're crazy.
DANA
(laughs ironically)
Thanks. Coming from you that really means
a lot to me.
VENKMAN
I'm a qualified psychologist. I've got a
degree and everything. I believe that
something happened here and I want to do
something about it.
DANA
All right. What do you want to do?
VENKMAN
I think I should spend the night here.
DANA
(she's had enough)
That's it. Get out.
VENKMAN
On a purely scientific basis.
DANA
Out!
VENKMAN
I want to help you.
DANA
I'll scream.
VENKMAN
Don't scream.
DANA
(urging him to the door)
Then leave.
VENKMAN
Okay, okay. But if anything else happens,
you have to promise you'll call me.
DANA
(opening the door)
All right.
VENKMAN
Okay. Then I'll go.
DANA
Goodbye.
VENKMAN
(in the hall)
No kiss?
She closes the door in his face and triple locks it.
EXT. HALLWAY -- DAY
Venkman stands there with his nose flattened against Dana's door. He
starts to leave just as Louis Tully pokes his head out the door hoping to
see Dana. He jealously eyes Venkman. Venkman ignores Louis and gets on
the elevator.
Louis spots his newspaper lying on the floor across the hall. Holding the
door open with one foot, he reaches for the paper but can't quite stretch
far enough. Trying another approach, he swings the door open, leaps for
the paper and darts back to the door just as it slams shut in his face,
locking him out again.
INT. FIREHALL KITCHEN -- NIGHT
Stantz and Spengler are eating Chinese food from several take-out
containers. Venkman enters.
STANTZ
How was your date?
VENKMAN
It wasn't a date. It was an investigation.
SPENGLER
Did you see anything?
VENKMAN
Didn't see anything, Didn't get anything.
Nice girl - no ghost. I'm starting to
worry. You said your graph was pointing to
something big. You told me things were
going to start popping.
STANTZ
They will.
VENKMAN
Do you know when that might be? We're on
the brink of a very serious cash-flow problem.
He plucks a garlic shrimp from one of the Chinese food cartons and walks
off disconsolately.
EXT. HOTEL SEDGEWICK -- NIGHT
Two uniformed DOORMEN help people in and out of taxis and limos under the
hotel's elegant awning.
INT. HOTEL -- NIGHT
A "DO NOT DISTURB" sign hangs on the doorknob of Room 1210. Soft music
is heard coming from the room.
INT. ROOM 1210 -- NIGHT
The room is dark but we can hear the sighs and heavy breathing of a man
and woman making love on the bed. The camera PANS across the floor
following a trail of dropped clothing -- a tuxedo jacket and cummerbund,
white satin high heels, a lacy wedding gown, striped tuxedo trousers,
satin ladies underpants, stockings and garters.
BRIDE (V.O.)
Aren't you glad we waited?
GROOM (V.O.)
I don't know. It probably would've been the
same.
BRIDE (V.O.)
(indignant)
Well, thanks a lot.
THE BED
The Groom turns his back to the Bride and pulls the sheet up to his neck.
BRIDE
What are you doing? Are you just going to
roll over and go to sleep?
(he doesn't respond)
I don't believe this.
She switches on the lamp on the nightstand and picks up a magazine.
THE AIR VENT
There is a throbbing shudder as if something powerful was rushing through
the air duct. A hint of yellowy vapor wafts through the grating and into
the room.
THE NIGHTSTAND
The travel clock reads 9:45 P.M. Suddenly there is an audible hiss, then
the glass clockface cracks down the middle with a snap.
THE BRIDE
Startled, she looks at the clock and picks it up to examine it.
BRIDE
Roy? Your clock broke.
GROOM
Nice going, honey. It was brand new.
BRIDE
I didn't break your precious clock, Roy!
He gets up and heads for the bathroom.
BRIDE (CONT'D)
Now where are you going?
GROOM
To the bathroom, where do you think?
BRIDE
(to herself)
Have I done the right thing?
The Groom enters the bathroom and closes the door behind him. The sound
of water running in the sink is heard. Then the Bride hears a sound like
the noise a cat makes when trying to dislodge a hairball from its throat.
BRIDE
(calls out)
Roy? Are you all right?
The noise increases to the level of ten cats with hairballs.
BRIDE
(disgusted)
Hey, sweetheart, will you CUT THAT OUT!!!
GROOM (O.S.)
Uuuuuuugh!!
BRIDE
(getting quite nervous)
What's the matter, dear?
She gets out of bed just as he comes charging out, stuttering in stunned
horror. She goes into the bathroom.
BRIDE (V.O.)
What did you do in here? It smells awful!!
OH ... Oh, no ... Oh, my God.
The Bride runs out of the bathroom into the arms of her husband who is on
the telephone.
GROOM
... right ... It's smelling up the whole
suite ... I don't know ... It's just hanging
off the ceiling ... I've never seen anything
like this ... 1210 ... Quick ...
INT. FIREHALL OFFICE -- NIGHT
Janine turns off the light at her desk. She packs up her purse and puts
on her coat. The phone rings. Janine answers it unenthusiastically.
JANINE
Ghostbusters ... Yes, it is ... Yes, of
course they're serious. You do! You have!
Yes, sir. Well, they're out on another case
now, but if you'll give me the address ...
Don't worry, they'll be totally discreet.
She hits an alarm button and a loud bell starts ringing frantically.
INT. KITCHEN - NIGHT
The alarm sounds and everyone jumps up, scattering takeout cartons.
INT. DORM -- NIGHT
The alarm continues. Everyone enters in haste and scrambles into
jumpsuits. There is much hopping on one leg and bumping into one another.
BRASS POLE
Fully suited, Venkman jumps on and slides down followed quickly by
Spengler. Then Stantz jumps at it but hits it at the wrong angle. He
slowly slides down out of sight with a stunned look on his face.
INT. GARAGE BAY -- EQUIPMENT RACKS -- NIGHT
Everyone pulls throwers, traps, packs and harnesses off the wall.
EXT. FIREHALL -- NIGHT
The garage door slides up and in a blaze of light and screeching tires,
the ambulance squeals out and makes a right turn. The vehicle has been
painted flat black and has been fitted with communication wafers and
antennae. All the original lights have been replaced with purple and
white strobes and the siren has been altered to emit a low, unearthly
moaning The purple and white strobe bars give the car a strange
ultraviolet aura. It rounds the corner and heads up the West Side
Highway.
EXT. HOTEL -- FRONT DOOR -- NIGHT
The black ambulance screeches up to the main entrance, siren blaring.
Emblazoned on the door is the Ghostbusters' new logo. It's the
international symbol of prohibition, a red circle with a diagonal red
stroke across a ghost. The DOORMAN steps forward as Venkman, Stantz and
Spengler leap out of the car. They open up the rear door and remove their
equipment. People on the street stop and gawk.
INT. HOTEL LOBBY -- NIGHT
As the Ghostbusters enter, people turn and stare at their strange
appearance. They all wear matching blue futuristic jumpsuits with proton
packs strapped to their backs. They also wear brushed-metal, flip-down
ecto-visors worn on the head like a welder's mask. Knee and elbow pads
complete their strange outfits.
VENKMAN
He looks ill-at-ease and embarrassed by their outlandish getups as the
HOTEL MANAGER descends on them accompanied by a Slavic MAINTENANCE MAN and
a worried BELL CAPTAIN.
MANAGER
(agitated)
Thank you for coming so quickly. The guests
are starting to ask questions and I'm running
out of excuses.
STANTZ
Has this ever happened before?
MANAGER
Well, most of the original staff knows about
the twelfth floor ... The disturbances, I
mean ... But it's been quiet for years ...
Up until two weeks ago ... It was never ever
this bad, though.
STANTZ
Did you ever report it to anyone?
MANAGER
Heavens, no! The owners don't like us to
even talk about it. I hoped we could take
care of this quietly tonight.
STANTZ
Yes, sir. Don't worry. We handle this kind
of thing all the time.
They cross the lobby to the elevators, attracting lots of curious interest
from the hotel guests.
VENKMAN
A GUEST accosts him while they wait for an elevator.
GUEST
What are you supposed to be?
VENKMAN
Me? We're ... uh ... the exterminators.
Somebody saw a cockroach on the twelfth floor.
The Guest looks at Venkman, noting the heavy proton pack on his back, the
odd-looking particle thrower and flipdown ecto-visor.
GUEST
That's gotta be some cockroach,
VENKMAN
Well, you can't be too careful with those
babies.
The elevator arrives and he gets on with the others.
INT. THE ELEVATOR -- NIGHT
The Ghostbusters look nervous as they ride up the elevator.
STANTZ
I just realized something. We've never had
a completely successful test with any of the
equipment.
SPENGLER
I blame myself.
VENKMAN
So do I.
STANTZ
No sense worrying about it now.
VENKMAN
(doubtful)
Sure. Each of us is wearing an unlicensed
nuclear accelerator on our back. No problem.
The elevator stops at the Twelfth Floor.
INT. TWELFTH FLOOR CORRIDOR -- NIGHT
The elevator doors open and Venkman peeks out into the hall. He steps out
cautiously, followed by the others.
THE END OF THE HALL
A BELLBOY comes around the corner behind them, pushing a room service cart
loaded with dirty dishes.
STANTZ
He hears the rattle of the dishes behind him, whirls and fires a stream of
protons from his wand. Spengler is so keyed up, he too spins and fires
wildly.
THE BELLBOY
He ducks as the particle streams blow the dishes off the cart and scorch
holes in the wall behind him.
VENKMAN
(shouts)
Cease fire!
The Bellboy peeks out from behind the cart.
THE GHOSTBUSTERS
They breathe a sigh of relief.
STANTZ
(to the Bellboy)
Sorry, Buddy!
SPENGLER
We'd better adjust our streams.
He leads them down the hall to Room 1210.
INT. ROOM 1210 -- NIGHT
The Ghostbusters enter trepidatiously and start taking readings.
SPENGLER
(looking at his meters)
Something was definitely here.
VENKMAN
Yeah, I can smell it.
STANTZ
I'm getting high readings near the air
vents. It must be using the duct system to
get around. See, I told you we'd get
something.
VENKMAN
So far all we got is a shit smell on the
twelfth floor and we almost fried a Puerto
Rican bellboy.
STANTZ
All right. Let's cool the negative vibes.
These things can sense them.
They exit the room.
INT. A CORRIDOR -- NIGHT
Spengler makes his way down the hall reading valences at the door to each
room. He knocks on one of the doors, then passes his sensor over the top
of the door and down the jambs. Then he gets on his knees to read the
crack at the bottom of the door. Suddenly the door opens and he looks up
to see a really stunning woman wrapped in a bath towel with another towel
twisted turban-style around her wet hair.
WOMAN
(noting his unusual attire)
Yes?
SPENGLER
(stands up)
Were you recently in the bathroom?
WOMAN
(sarcastic)
What on earth gave you that idea?
SPENGLER
(seriously)
The wet towels, residual moisture on your
lower limbs and hair, the redness in your
cheeks indicating ...
WOMAN
(cutting him off)
You're a regular Sherlock Holmes. Now what
do you want?
SPENGLER
When you were in the bathroom, did you
notice anything that was yellow and
unusually smelly?
She slams the door in his face. Spengler shrugs and moves on.
INT. ANOTHER CORRIDOR -- SAME TIME
Stantz moves down the hall checking PKE valences.
HIS PKE METER
The needle jumps into the red.
STANTZ
He alerts Spengler through the walkie-talkie headset he wears.
STANTZ
(hushed)
Egon! I got something. I'm moving in.
Slowly and cautiously, he turns the corner at the end of the hall.
Suddenly, he sees the object of their search and freezes.
STANTZ
(frightened)
Yaaaaaaaaah!
STANTZ' POV
The vapor is hunched over a room service cart loaded with dirty dishes.
It hangs there, translucent, foul, yellow, feeding off table scraps and
leftover beverages, knocking dishes off the cart and scattering refuse.
It looks like a misshapen potato with a pushed-in face and spindly arms.
SPENGLER
(over the walkie-talkie)
Ray! Where are you? Are you all right?
STANTZ
(amazed)
God, it's ugly!
THE VAPOR
It raises a half-empty bottle of wine to its gaping maw and chugs down the
liquid. The wine is visible as it pours down his gullet and passes
through his system, finally spilling through his body onto the floor.
STANTZ
He edges closer.
STANTZ
(whispers into his head
set)
I'm moving in. I don't think it's seen me
yet.
THE VAPOR
It crams some leftovers into its mouth and belches loudly.
STANTZ
He is growing increasingly more disgusted as the initial fear leaves him.
STANTZ
Ugh! What a slob! I'm going to take him.
(shouts at the vapor)
Freeze, Potato-Face!
He fires his particle thrower at the vapor.
THE VAPOR
It dodges Stantz' first shot and the ion stream tears away fifty feet of
wallpaper in a searing ricochet. Then the vapor flies off down the hall,
pulling the room service cart along in its wake.
STANTZ
He chases it down the hall, shouting into his headset.
STANTZ
He's getting away!
THE VAPOR
It reaches the end of the corridor but instead of turning, it passes right
through the solid wall. The room service cart crashes into the wall,
smashing dishes and sending the debris flying.
INT. A HOTEL ROOM -- NIGHT
A MAN is just pulling the plastic bag off his recently dry-cleaned white
dinner jacket when the noxious vapor comes shooting through the wall. It
blows right over him with a great rush of stinking wind and exits through
the air vent.
THE MAN
He looks at the air vent then back at his dinner jacket which has turned
several shades of sickly yellow and brown.
INT. A CORRIDOR -- NIGHT
Venkman is alone in a long hallway. He leans against the wall, clearly
not taking any of this seriously. He hauls on a cigarette and mutters to
himself.
VENKMAN
This bites it. I actually work for a
company called Ghostbusters.
Suddenly from the end of the hallway comes the sound of rattling dishes
and silverware, accompanied by footsteps. Venkman's PKE meter beeps and a
red light winks on.
VENKMAN (CONT'D)
(into the walkie-talkie)
Ray -- Something's here.
STANTZ (O.S.)
(crackling over the
communicator)
Where are you, Pete?
VENKMAN
(backing away)
Third floor. Get down here,
STANTZ
Sit tight. I'm on my way.
VENKMAN
Well, hurry up.
(checks his meter)
The needle's going wild.
VENKMAN'S POV
A room service cart sails past along a perpendicular hallway and rolls out
of sight. Then immediately behind it comes a reeking yellow haze. It is
the vapor. It doesn't follow the cart but instead makes the turn at the
end of the hall and hovers there, apparently looking at Venkman.
VENKMAN
He's scared now.
VENKMAN
(into his head set)
It's here, Ray. It's looking at me.
STANTZ
(on the radio)
Don't move. It won't hurt you.
VENKMAN
How do you know?
STANTZ
I don't know. I'm just guessing.
Venkman sees the vapor start down the hall toward him.
VENKMAN
(panicking)
Well, I think you guessed wrong. Here he
comes!
THE VAPOR
It flies down the hall toward Venkman.
INT. STAIRWELL -- SAME TIME
Stantz runs downstairs taking them three at a time as Venkman is heard
screaming over the radio.
VENKMAN
(screaming)
Veeaaaaaahh!
INT. THIRD FLOOR
Stantz comes running around the corner and sees Venkman flat on his back,
flailing his arms and legs frantically, Sickening, yellow-green ectofluid
covers his head and chest.
VENKMAN
Aagghh -- aaaggghh -- uhh -- uhh -- It slimed
me! It slimed me!
Suddenly Spengler's voice crackles over the communicator.
SPENGLER (V.O.)
Ray! It's here! It just went into the
Banquet Room on the third floor.
Stantz helps Venkman to his feet and they rush off.
INT. BANQUET ROOM -- NIGHT
The Ghostbusters enter a large dark room with a high, ornately-corniced
ceiling and a crystal chandelier hanging in the center.
STANTZ
Visors down. Full stream.
They flip down their visors and scan the room.
STANTZ
He peruses the room but sees nothing. He looks up and scans the ceiling.
A form flits behind a carved beam.
STANTZ
There! On the ceiling!
(the others look)
Come on down here, you slug!
Stantz drops to one knee and fires at the vapor.
THE CEILING
The vapor dodges as the beam blasts a sizable chunk of plaster out of the
ceiling and destroys half the crystal chandelier.
VENKMAN
He fires at it, too, wasting the rest of the chandelier but the vapor
dodges away. They are both ready to start blazing away again when
Spengler stops them.
SPENGLER
(urgently)
Wait! Wait! There's something I forgot to
tell you.
VENKMAN
What?
SPENGLER
(emphatic)
Don't cross the beams.
VENKMAN
Why not?
SPENGLER
Trust me. It will be bad.
VENKMAN
What do you mean "bad?"
SPENGLER
It's hard to explain, but try to imagine
all life as you know it stopping
instantaneously and finding yourself
confined forever in another dimension.
Venkman considers his own safety and decides to take charge.
VENKMAN
(with military authority)
That's it! I'm taking charge. You guys
are dangerous.
They yield command to him.
VENKMAN (CONT'D)
Now nobody does anything unless I order you
to, okay?
STANTZ AND SPENGLER
They nod obediently and glance nervously at the vapor, still hovering near
the ceiling.
VENKMAN
Let's do it. This thing's not going to hang
around all day waiting for us. Ray, give me
one stream wide right of it. I'll go wide
left. Now!
STANTZ AND VENKMAN
They trigger their throwers and two streams are emitted, shooting off to
either side of the entity. The entity swirls but stays between the beams.
VENKMAN
(talking them through it)
Good ... Good ... Nice and wide ... Move
with him ... Easy. Hold steady.
THE VAPOR
It bobs and weaves, trying to slip past the visible lines of light, but
Venkman and Stantz manage to keep it boxed in.
VENKMAN
(speaking clearly)
Now, very slowly, Ray, let's tighten it up.
You hold steady. I'm coming down.
They start closing the distance between their ion streams.
SPENGLER
(cautious)
Don't cross them! Watch it!
STANTZ
The vapor is trying to get around his streams, causing him to waver as
Venkman's stream gets closer and closer.
VENKMAN
Spengler! A little help! Cut him off.
THE VAPOR
It slips past Stantz and races for the air vent.
SPENGLER
He fires with such poor marksmanship that he comes only centimeters from
crossing Venkman's stream. Venkman jerks away to avoid crossing Spengler's
erratic bursts and maneuvers. Together they do extensive damage to the
walls.
INT. CORRIDOR -- SAME TIME
The Hotel Manager and the Maintenance Man look nervously at each other as
they hear the sound of heavy property damage coming from the banquet room.
INT. BANQUET ROOM - NIGHT
Stantz has the thing cornered to some extent.
STANTZ
(to Venkman)
I'll nudge it out of the corner. You cut
off the left side.
Stantz moves closer to the wall and Venkman counters to trap the vapor
again.
VENKMAN
(encouragingly)
You got it! That's good. Easy now.
They manage to guide the vapor out into the center of the room, all the
time closing the figurative box around it.
STANTZ
It's working!
SPENGLER
Easy ... Easy ... I'm going to throw in my
trap now.
Spengler jerks his leg up, triggering a release on his equipment belt. A
cord and foot pedal fall to the floor. At the end of the cord there is a
long, flat black metal box two feet long, four inches wide and two high.
He kicks the box under the apparition and toes the foot pedal into
position. The apparition blasts them with a flatulent gust. They recoil
but hold the configuration.
STANTZ
Easy ... Easy ... Open the trap now!!
Spengler stomps on the foot pedal and with a loud electronic snap the long
metal box on the floor sprays up a fixed multidimensional inverted pyramid
of bright, beaded white light.
Stantz and Venkman herd the vapor to the top of the trap.
VENKMAN
Watch it ... Watch it ... Now!
Spengler stomps the foot pedal again.
Suddenly there is a loud double electronic snap and a blinding flash of
pink light. Wisps of brown smoke and carbonized particles rise to the
ceiling in a large residual puff. The Ghostbusters stand there for a long
moment not quite sure the battle is over.
SPENGLER
He cautiously approaches the trap end looks at the valence indicator on
it.
SPENGLER
(confirms it)
He's in here.
STANTZ AND VENKMAN
They whoop in triumph -- and considerable relief.
STANTZ
(pulling off his slimy
visor)
Well! That wasn't so bad, was it?
Venkman looks askance at him.
VENKMAN
Are you kidding? That was like trying to
push smoke into a bottle with a baseball
bat. Now what do we do with it?
He looks at Stantz.
STANTZ
He looks at Spengler.
SPENGLER
He shrugs.
VENKMAN (CONT'D)
(not pleased)
We'll have to work on that.
(to Stantz)
Grab that, would you, Ray?
They exit, leaving Stantz to deal with the trap.
INT. LOBBY -- NIGHT
The elevator opens and the Ghostbusters emerge. Stantz holds the trap by
it's foot pedal. He dangles it away from his body as if it is something
putrid. The Hotel Manager approaches them.
HOTEL MANAGER
What happened? Did you see it? What is it?
Stantz removes his infra visor and wipes some slime off his face. He is
beaming,
STANTZ
We got it!
He holds up the trap.
HOTEL MANAGER
What was it? Will there be any more of them?
STANTZ
Sir, what you had there was what we refer
to as a focused, non-terminal repeating
phantasm or a Class Five Full Roaming Vapor
... A real nasty one, too.
VENKMAN
(starts writing a bill)
That'll be $4,000 for the entrapment plus
$1,000 for proton recharge and storage.
HOTEL MANAGER
(shocked)
Five thousand dollars! I won't pay it. I
had no idea it would be so much.
VENKMAN
Fine. We'll let it go again.
(calls out)
Ray! Bring it back.
HOTEL MANAGER
No! All right. Anything.
EXT. HOTEL SEDGEWICK -- NIGHT
The Ghostbusters come through the revolving doors and see a real mob scene
on the street. A large crowd has gathered around the Ectomobile and the
police have put up a barricade to hold them back. Photographers are
taking pictures of it and several reporters are there waiting for them.
As the Ghostbusters cross to the vehicle, people in the crowd cheer and
the reporters start firing questions at them.
REPORTER #1
Nate Cohen. I'm with the Post. What
happened in there?
REPORTER #2
Did you really see a ghost?
REPORTER #3
Is this some kind of a stunt?
STANTZ
(holding up the trap;
loudly to the crowd)
We got one!
REPORTER #1
Can we see it?
STANTZ
Uh...I'm afraid not.
VENKMAN
This is not a sideshow! We're serious
scientists.
REPORTER #4
What proof do you have that what you saw
was real?
STANTZ
Proof? Well, the manager of the Sedgewick
just paid us five big ones to get something
out of there. Is that real enough for you?
REPORTER #2
Are you saying that ghosts really exist?
VENKMAN
(pitching)
Not only do they exist, they're all over
the place! And that's why we're offering
this vitally important service to people in
the whole tri-state area. We're available
twenty-four hours a day, seven days a week.
We have the tools and we have the talent.
No job too small, no fee too big. We're
ready for anything.
SPENGLER
He's confused by all the commotion and the barrage of questions from the
press. A STREET PUNK in the crowd behind the police barricades keeps
hissing at him.
STREET PUNK
Mister! Hey, Mister! Come here! Mister.
He finally gets Spengler's attention and waves him over.
STREET PUNK (CONT'D)
Hey, Mister! Can I see those guns?
SPENGLER
They're not guns. They're particle throwers.
STREET PUNK
Yeah, yeah. I just want to see 'em.
SPENGLER
I couldn't do that. You might hurt someone.
He turns away.
STREET PUNK
Wait! Wait! Let me ask you something. If
you like shot Superman with those guns, would
he feel it or what?
SPENGLER
(with authority)
On Earth -- no. But on Krypton we could
slice him up like Oscar Mayer Bologna.
STREET PUNK
Wow!
VENKMAN AND STANTZ
They are in high spirits as they continue to field questions. A minicam
is videotaping them.
MINICAM REPORTER
Sing the song from your commercial.
STANTZ
(reluctant)
No, we have to get back and ...
MINICAM REPORTER
(wheedling)
Come on. It's free advertising.
VENKMAN
There's a thought. Hit it, Ray.
Stantz shrugs and starts singing the Ghostbusters song with embarrassed
restraint.
STANTZ
(singing)
Ghostbusters ... If you have a ghost
But you don't want to play host ...
Venkman joins in with a harmony and they continue with more confidence.
STANTZ & VENKMAN
(singing)
They can be bad houseguests
And all-night pests ...
You can't sleep at all
So who do you call?
Spengler joins them for the big finish with no perceivable sense of melody
or rhythm.
ALL TOGETHER
(singing)
Ghostbusters ... Ghostbusters.
At the moment a flashbulb goes off freezing the Ghostbusters in a
still-frame that becomes a front-page news photo.
FRONT PAGE
The New York Post carries the picture with a big headline reading:
GHOSTBUSTERS?
The Ghostbusters' song really starts to cook with full production now as a
MONTAGE begins.
TELETYPE MACHINES
A bank of whirring, clicking teleprinters spits reams of hard copy and
wire service photos depicting the team at work.
ANNOUNCER (V.O.)
Hello, America. This is Ronald Gwynne
reporting from United Press International
in New York. Throughout my entire career
as a journalist I have never reported
anything as exciting and incredible as the
trapping of an actual supernatural entity
by a team of men based in this city who call
themselves Ghostbusters.
INT. FIREHALL
The team hears the alarm buzzer. They leap from their beds and slide down
the pole.
ANNOUNCER (V.O.) (CONT'D)
Now, most of us have never even heard of a
floating, slime-like substance called
ectoplasm, but these gentlemen claim we will
be seeing a lot more of it than ever before.
EXT. YANKEE STADIUM -- DAY
The Ectomobile is parked at home plate. The Ghostbusters enter the Yankee
dugout as a concerned Groundskeeper looks on.
EXT. TIMES SQUARE -- NIGHT
The electronic Seiko sign flashes the news: Ghostbusters Nab Phantom Bat
Boy at Yankee Stadium.
FULL SCREEN VIDEO OF ROGER GRIMSBY
ROGER GRIMSBY
Good morning. Today the entire Eastern
Seaboard is alive with talk of hundreds of
reported incidents involving multiple
sightings in what can only be described as
extreme events of paranormal extraphenomenical
proportions. It seems everybody is willing
to bring their old ghosts and skeletons out
of the closet. Roy Brady reports from New
York.
EXT. IN FRONT OF FIREHALL
Minicam set up in street.
ROY BRADY
Thank you, Roger. Everybody's heard ghost
stories around the campfire. Heck, my
grandma used to spin yarns about a spectral
locomotive that used to rocket past the farm
where she grew up. Now, as if some unseen
authority had suddenly given permission,
thousands of people here are talking about
encounters they claim to have had with ghosts.
Music and Teleclicker up.
EXT. TUDOR CITY -- DAY
The Ectomobile pulls up to a Gothic apartment building in the complex. The
Ghostbusters jump out, end hurry into the lobby.
A POLICEMAN
He notices that the Ectomobile is illegally parked and walks over to gawk
at the odd vehicle.
THE ECTOMOBILE
As the Policeman approaches, a set of double antennae on the roof are
automatically activated. They rotate and tilt to point at the Policeman.
The Policeman is a little unnerved by the antennae and starts to walk
around the car, but the antennae follow him with unerring accuracy.
THE POLICEMAN
Eager to get away from the vehicle, he quickly writes a parking ticket and
sticks it under the windshield wiper.
THE WINDSHIELD
As the Policeman withdraws his hand, the ticket heats up, bursts into
flame and burns up.
THE POLICEMAN
He stares at the ashes for a moment then slowly backs away from the car.
INT. ECTOMOBILE -- NIGHT
Stantz is driving. Spengler and Venkman are asleep. They all look
completely exhausted.
THE JOE FRANKLIN SHOW -- ON CAMERA
JOE FRANKLIN
Ray, every time I hear about your company,
I can't help thinking about the old Bob Hope
movie.
STANTZ
Actually, Joe, the title of that film was
"Ghostbreakers," and Olsen and Johnson did
one called "Ghost Catchers" and the Bowery
Boys did "Ghost Chasers," "Hold That Ghost,"
"Spooks Run Wild," "Spook Busters," and
"Spook Chasers."
JOE FRANKLIN
Well, in any case, I guess there's one big
question on everybody's mind and you're
certainly in a position to answer it for us:
Have you seen Elvis and how is he?
INT. RADIO STUDIO
LARRY KING is doing his phone-in talk show.
LARRY KING
Our phone-in topic today: Ghosts and
Ghostbusting. The controversy builds as more
sightings are reported and some maintain that
these professional paranormal eliminators in
New York are the cause of it all. Why did
everything start just when these guys went
into business?
EXT. LINCOLN CENTER -- DAY
Larry King continues voice-over as members of the New York Philharmonic
come out the stage door of Avery Fisher Hall.
LARRY KING (V.O.)
Should they be allowed to carry around
unlicensed proton mass drivers? And what's
wrong with ghosts anyway? Call us ... All
our lines are open. Hello, Larry King.
Dana is walking with another man, a VIOLINIST, when she sees Venkman
sitting on the edge of the fountain in the center of the plaza. She asks
the Violinist to wait and crosses to Venkman.
FEMALE CALLER (V.O.)
Hello, Larry? I think what Dr. Spengler
said in his interview with you last night
was true. The world is in for a "psychic
shock" 'cause like my aunt reads coffee
grounds and she ...
(fade out)
VENKMAN AND DANA
She is surprised and a little bit pleased to see him.
VENKMAN
Great rehearsal.
DANA
You heard it?
VENKMAN
You're the best one in your row.
DANA
(skeptical)
Most people can't hear me with the whole
orchestra playing. You're good.
VENKMAN
I don't have to take abuse from you. I have
other people dying to give it to me.
DANA
I know. You're quite a celebrity these
days. Are you here because you have info
... about my case?
VENKMAN
(looks at the Violinist
who appears to be getting
impatient)
Who's the stiff?
DANA
The "stiff?" He happens to be one of the
finest musicians in the world and a wonderful
man.
VENKMAN
Is he dying or something?
They glance at the Violinist.
THE VIOLINIST
He takes a hit of nasal spray in each nostril.
DANA AND VENKMAN
She looks at him trying to decide whether she likes him or not.
DANA
He is a very close friend. Do you have some
explanation of what happened in my apartment?
VENKMAN
Yes, but I have to tell you in private at a
fine restaurant.
DANA
Can't you tell me now?
VENKMAN
I'll cancel the reservation, I found the
name "Zuul" in ...
(reading)
The Roylance Guide to Secret Societies and
Sects. I don't suppose you've read it.
DANA
You must have gotten the last copy.
VENKMAN
Well, the name Zuul refers to a demi-god
worshipped around 6000 B.C. by the ...
What's that say?
DANA
Hittites, the Mesopotamians and the
Sumerians. "Zuul was the Minion of Gozer."
VENKMAN
"Gozer" -- he was very big in the Sumerian
religion. One of their gods.
DANA
What's he doing in my refrigerator.
VENKMAN
I'm checking on that. I think we should
meet Thursday night at nine to talk about
it.
DANA
I don't think so. I'm busy Thursday night.
VENKMAN
(persists)
You think I enjoy giving up my evenings to
spend time with clients? I'm making an
exception because I respect you as an artist
and as a dresser.
DANA
(laughs)
All right. Since you put it that way.
VENKMAN
I'll pick you up at your place. I'll bring
along the Roylance Guide -- we can read
after we eat.
DANA
I've got to go now.
She walks toward the Violinist. Venkman shouts after her.
VENKMAN
Remember. I'm the only one standing between
you and a heavy Hittite.
She starts walking away.
VENKMAN (CONT'D)
(calls after her)
I'll pick you up at your place.
DANA
She waves goodbye and rejoins the Violinist,
VIOLINIST AND DANA
VIOLINIST
(jealous)
Who was that?
DANA
Oh, he's an old professor of mine.
VIOLINIST
(doubtful)
Really?
DANA
Yes. He's smarter than he looks.
They walk off.
INT. RECEPTION AREA -- DAY
Janine is handling a steady barrage of phone calls, switching from one
line to the other. WINSTON ZEDDEMORE, a large, impressive-looking black
man sits across from her filling out a job application.
JANINE
(answering a call)
GHOSTBUSTERS -- please hold.
(switches)
Good afternoon, GHOSTBUSTERS -- please hold.
(switches back)
Yes, can I help you?
(pause)
Yes ... yes, Is it just a mist or does it
have arms and legs ...? Uh-huh ... Well,
the soonest we could possibly get to you
would be a week from Friday ... I'm sorry,
but we're completely booked until then ...
Uh-huh ... Well, all I can suggest is that
you stay out of your house until we can get
to you. Thank you.
She hangs up.
WINSTON
Let me ask you something. The ad in the
paper just said "Help Wanted." What's the
job?
JANINE
I really don't know, Mr. Zeddemore. They
just told me to take applications and ask
you these questions.
(she reads from a
questionnaire as if for
the hundredth time)
Do you believe in U.F.O.'s, astral
projection, mental telepathy, ESP,
clairvoyance, spirit photography,
full-trance mediums, telekinetic movement,
black and/or white magic, pyramidology, the
theory of Atlantis, the Loch Ness Monster,
or in general in spooks, spectres, wraiths,
geists and ghosts?
WINSTON
Not really. However, if there's a
semi-regular paycheck in it I'll believe
anything you say.
EXT. FIREHALL -- SAME TIME
A gaggle of autograph hounds is waiting on the street as Ecto One pulls
in. The front of the building now bears a big neon sign with the
Ghostbusters logo on it.
INT. GARAGE BAY -- DAY
Venkman and Stantz disembark. They carry a couple of traps apiece. Their
jumpsuits are covered with smoldering ecto-slime. The Ectomobile looks
like it's been through a war.
STANTZ
(exhausted)
Boy, that was a rough one.
VENKMAN
I can't take much more of this. The pace
is killing me.
RECEPTION AREA - DAY
Venkman enters with Stantz, crosses to Janine and drops a paid invoice on
her desk.
VENKMAN
Here's the paper on the Brooklyn job. She
paid with a Visa card.
JANINE
(hands a sheaf of work
orders to Stantz)
Here are tonight's calls.
STANTZ
(shuffles through them)
Oh, no. Two more free-roaming repeaters.
JANINE
And this is Winston Zeddemore. He came
about the job.
STANTZ
Hi. Ray Stantz. Pete Venkman.
They shake hands.
JANINE
(to Venkman)
And someone from the EPA is here to see you.
VENKMAN
The EPA? What's he want?
JANINE
I didn't ask him. All I know is that I
haven't had a break in two weeks and you
promised you'd hire more help.
VENKMAN
(surly)
Janine, I'm sure a woman with your
qualifications would have no trouble finding
a top flight job in the housekeeping or food
service industry.
JANINE
Oh, really? Well, I've quit better jobs
than this one, believe me.
He exits.
STANTZ
He scans Winston's resume, ignoring the flare-up between Janine and
Venkman. They start downstairs to the storage facility.
STANTZ
Very impressive resume. Electronic
countermeasures, Strategic Air Command ...
Black belt in Karate ... Small arms expert
... Mr. Zeddemore, as you may have heard,
we locate ghosts and spirits, trap them with
streams of concentrated quantum energy and
remove them from people's homes, offices and
places of worship.
WINSTON
Yeah, I heard that. Now tell me what you
really do.
INT. THE OFFICE -- SAME TIME
The walls are plastered with newspaper and magazine stories on
Ghostbusters. WALTER PECK, junior E.P.A. administrator, is reading one of
the articles when Venkman walks in.
VENKMAN
Can I help you?
PECK
(turns all business)
I'm Walter Peck. I represent the
Environmental Protection Agency, Third
District.
VENKMAN
(not impressed)
Great! How's it going?
PECK
Are you Peter Venkman?
VENKMAN
Yes, I'm Doctor Venkman.
Peck looks at Venkman's soiled jumpsuit.
PECK
Exactly what are you a doctor of, Mr.
Venkman?
VENKMAN
I have Ph.D's in psychology and
parapsychology.
PECK
I see. And now you catch ghosts?
VENKMAN
You could say that.
PECK
And how many ghosts have you caught, Mr.
Venkman?
VENKMAN
I'm not at liberty to say.
PECK
And where do you put these ghosts once you
catch them?
VENKMAN
In a storage facility.
PECK
And would this storage facility be located
on these premises?
VENKMAN
Yes, it would.
PECK
And may I see this storage facility?
VENKMAN
No, you may not.
PECK
And why not, Mr. Venkman?
VENKMAN
Because you didn't say the magic word.
PECK
(sighs)
And what is the magic word, Mr. Venkman?
VENKMAN
The magic word is "please."
Peck laughs nervously.
PECK
May I please see the storage facility?
VENKMAN
Why do you want to see it?
PECK
Well, because I'm curious. I want to know
more about what you do here. Frankly, there
have been a lot of wild stories in the media
and we want to assess any possible
environmental impact from your operation.
For instance, the storage of noxious,
possibly hazardous waste materials in your
basement. Now either you show me what's down
there or I come back with a court order.
VENKMAN
(he's had it)
Go ahead! Get a court order. Then I'm
gonna sue your ass off for wrongful
prosecution.
PECK
(exiting)
Have it your way, Mr. Venkman.
VENKMAN
(shouts after him)
Hey! Make yourself useful! Go save a tree!
INT. FIREHALL BASEMENT -- SAME TIME
Spengler is at the work bench repairing a damaged proton pack. The place
is a mess with equipment, work orders, parts, catalogs and old lunches
piled everywhere. Half the room has been sealed off from floor to ceiling
with concrete blocks to form a storage facility for captured spirits.
Winston is standing at a viewing slit staring into the storage facility.
STANTZ
He inserts a trap into a metal-lined slot in the wall of the storage
facility. Spengler crosses to a control console to assist him.
STANTZ
(pushing buttons)
Set entry grid.
SPENGLER
Neutronize. System shut.
He pushes more buttons and the slot lights up. Several grating electronic
snaps are heard, like the sound of bugs being fried on an outdoor insect
light. Then Stantz withdraws the trap and tosses it into a bin marked:
FOR RECHARGE.
SPENGLER (CONT'D)
I've got to sleep.
STANTZ
I need two new purge valves. How's the grid
around the storage facility holding up?
SPENGLER
I'm worried, Ray. It's getting crowded in
there. And all my recent data points to
something big on the bottom.
WINSTON
(concerned)
What do you mean "big?"
Spengler picks up a Hostess Twinkie from the workbench.
SPENGLER
Well, let's say this Twinkie represents the
normal amount of psychokinetic energy in the
New York area. According to this morning's
PKE sample, the current level in the city
would be a Twinkie 35 feet long weighing
approximately six hundred pounds.
WINSTON
That's a big Twinkie.
STANTZ
We could be on the verge of a fourfold
crossover ... or worse. If what we're
seeing indicates a massive PKE surge, we
could experience an actual rip.
Spengler nods gravely. Venkman enters looking very concerned.
VENKMAN
Egon, how's the grid around the storage
facility holding up?
STANTZ
It's not good, Pete.
WINSTON
Tell him about the Twinkie.
Venkman lets that remark go and crosses to a TV monitor linked to a camera
inside the storage facility.
VENKMAN
(peering)
I can't look anymore. It's too depressing.
THE MONITOR.
We zoom in on the monitor and get our first real look inside the storage
facility. It is a bleak repository for souls of many species. Strange
lights, mists and spectral shapes waft about aimlessly. Human-like
figures lean against the walls in despairing convict poses. Others flit
and hang on the ceiling. It is a sad and frightening limbo and a most
unholy makeshift asylum.
EXT. MANHATTAN SKYLINE -- NIGHT
A mysterious cloud takes shape and hovers over Dana's apartment building.
Then a strange glow starts to radiate from the temple-like structure on
the roof.
EXT. THE TEMPLE -- NIGHT
The moon shines through the odd cloud configuration, illuminating the
ornate temple door with its two stone Terror Dogs posed rampant on either
side of the portal.
TERROR DOG
Its hideous stone features are bathed in moonlight. The camera PANS down
its grotesque body to one of its claws. Suddenly there is a hiss and an
audible crack of disintegrating mortar as one of its stone talons comes to
life.
ITS HEAD
The stone figure opens its eyes, revealing glowing red pupils beneath the
scaly lids.
INT. HALLWAY -- NIGHT
Dana gets off the elevator and immediately hears loud music blasting from
Louis' apartment as his party hits full swing. She tiptoes past his door
but despite the loudness of the music, Louis somehow senses her presence
and comes rushing out into the hall.
LOUIS
Oh, Dana, it's you.
DANA
Hi, Louis.
LOUIS
Hey, it's crazy in here. You're missing a
classic party.
DANA
Well, actually Louis I have a friend coming
by.
LOUIS
Great! Bring her, too. But you better
hurry. I made nachos with non-fat cheese
and they're almost gone. I'll make some
more though.
DANA
(entering her apartment)
Fine, Louis. We'll stop in for a drink.
LOUIS
I got the Twister game for later ...
Dana closes the door leaving Louis alone in the hall, once again locked
out of his own apartment.
LOUIS (CONT'D)
(knocking on his door)
Hey. Lemme in ...
INT. DANA'S APARTMENT -- NIGHT
She enters and takes off her coat. She's wearing dance clothes and
appears to be really tired. She sits down in an overstuffed chair and
takes off her leg warmers. Then leans back and closes her eyes. It is
very quiet. Something dreadful is about to happen. Then it happens. The
phone rings so loudly it makes Dana jump. She picks it up.
DANA
Hello ... Oh, hi Mom. Yes ... yes.
Everything's fine. No ... nothing. Just
that one time ... I am ... I will ... I
won't ... Mother! I'm all right. I told
you. Everything's fine ...! All right.
I'll talk to you tomorrow ... I promise.
'Bye.
She hangs up the phone, leans her head back and closes her eyes again. We
hold on her for a long beat.
INT. THE KITCHEN DOOR NIGHT
An eerie light is seen coming through the cracks around the door.
DANA
She sits up in surprise and looks at the kitchen door.
DANA
Oh, shit!
She starts to get up but suddenly a pair of scaly, inhuman hands rip out
of the chair cushion on either side of her and clutch her around the
waist. She screams and tries to break their grip, but another pair of
claws tears through the upholstery and grabs her around the chest and
neck, pinning her to the chair.
THE CHAIR
As if drawn by a powerful force, the chair with Dana in it slides across
the living room floor toward the kitchen door.
THE KITCHEN DOOR
The whole door is now pulsing.
DANA
She is horrified.
THE KITCHEN DOOR
It swings open, revealing a fiery chamber where the kitchen used to be.
One of the Terror Dog creatures seen earlier in the fridge is standing
there waiting for Dana with outstretched claws.
DANA
She screams as the chair propels her into the kitchen. Then the door
swings shut behind her.
EXT. DANA'S ROOFTOP -- NIGHT
A bright flash shoots out from the center of the pyramid, lighting up the
roof of Dana's building.
ROOF TEMPLE
All is as before except that both stone Terror Dogs are ominously missing
from the structure.
INT. LOUIS' APARTMENT -- SAME TIME
Louis is playing the perfect host to his clients, a general cross-section
of nerds and nerdettes, The music is much too loud and the guests are
scattered about the living room in small groups making dull conversation.
LOUIS
He is emptying ashtrays and cleaning them with Windex. A TALL WOMAN
approaches him.
TALL WOMAN
Louis, do you have any Excedrin or Extra
Strength Tylenol?
LOUIS
I have acetacylasilic acid but generic from
Walgreens cause I can get 600 tables for 35%
less than the cost of 300 name brand. Is it
a headache?
The woman moves away.
THE BUFFET TABLE
Two stiff men are helping themselves. One is about to bite into some lox
when Louis joins them.
LOUIS
That's Nova Scotia salmon. The real thing.
It costs $24.95 a pound but really $12.48 a
pound net after tax. I'm writing this whole
party off as a promotional expense. That's
why I invited clients instead of friends.
Try that Brie, it's dynamite at room
temperature. Maybe I should turn the heat
up a bit ...
A SECOND WOMAN moves up to Louis.
WOMAN #2
C'mon Louis, maybe if we dance other people
will start.
They start to dance.
The doorbell rings. Louis bolts for the door hoping if's Dana. It's
another couple. Louis escorts them in and take, their coats.
LOUIS
Everybody, this is Ted and Annette Fleming.
Ted has a small carpet cleaning business in
receivership, but Annette is drawing a
salary from a deferred bonus from two years
ago and the house has $15,000 left at eight
percent.
He goes to the bedroom door with their coats and opens it.
INT. BEDROOM -- NIGHT
On the bed, standing up on all four legs, is a bristling, panting, live
Terror Dog. Too preoccupied to notice it, Louis reflexively tosses the
coats onto the bed. They both land on the Terror Dog's head.
INT. LIVING ROOM -- NIGHT
Louis comes out of the bedroom and closes the door. Then from within
there issues forth a tremendous roar that freezes the quest.
LOUIS
Okay. Who brought the dog?
BEDROOM DOOR
An instant later, the Terror Dog bursts right through the door. Wood
chips and splinters shower the guests.
THE GUESTS
They drop their drinks and canapes as the Terror Dog lands in the center
of the room, snarling hellishly.
It quickly scans the room, looking for Louis.
LOUIS
He yelps and runs for the door.
TERROR DOG
He lunges after Louis, but Louis gets out just in time and slams the door
behind him.
INT. HALLWAY -- NIGHT
Louis tears off down the hall, bellowing. The Terror Dog bursts through
the door, lands in the hall and runs after him.
Louis ducks into the elevator.
EXT, DANA'S BUILDING NIGHT
A DOORMAN stands at his post near the revolving door, Two elegantly
dressed visitors wait as he phones to announce them to one of the building
residents. Suddenly Louis comes running out of the door.
LOUIS
Help! Help! There's a bear loose in my
apartment.
He runs across the street and disappears in the park.
THE DOORMAN
DOORMAN
(mutters)
How he's got animals up there.
The Doorman turns just in time to see the Terror Dog before it runs right
over him and bounds across the street.
EXT. CENTRAL PARK
TWO BUMS stroll casually along discussing current events.
FIRST BUM
I think you're right about Central America
but I completely disagree about the other
thing. A good heavyweight boxer could take
a Karate guy every time.
Louis runs by them, almost knocking them over.
LOUIS
(screaming)
Run! Run!
They turn to watch him go.
SECOND BUM
(shaking his head)
Rush, rush, rush.
They turn back just as the Terror Dog streaks past them in hot pursuit.
They recoil in fear and watch as the creature sprints after Louis.
SECOND BUM (CONT'D)
That is one speedy mutt.
FIRST BUM
He's a big one. You don't want to mess with
that particular breed.
SECOND BUM
Definitely some sort of fighting Spaniel, I
think.
EXT. CENTRAL PARK - NIGHT
Louis runs for his life, afraid to look back. He races through a tunnel
then sees the twinkling lights of the Tavern on the Green restaurant and
heads straight for it.
EXT. TAVERN ON THE GREEN -- NIGHT
Louis comes tearing into the courtyard of the restaurant. Through the
large picture windows he can see well-dressed people sitting in the
elegant dining room. He goes for a door into the dining room but finds it
locked. Then he tries another door but it, too, is locked. Suddenly, he
hears a low rumbling growl from the bushes. Desperate now, he starts
pounding on the glass.
INT. TAVERN ON THE GREEN -- SAME TIME
The wealthy patrons look up and see Louis pounding on the glass, screaming
unintelligibly.
LOUIS
(muffled)
Help! Help!
They ignore his pleas and return to their salmon croute.
EXT. COURTYARD -- NIGHT
Louis' heart is pounding, his breath coming in compulsive gasps as he
turns to face the relentless Terror Dog.
THE TERROR DOG
It stands there silhouetted in the dark. Then it starts advancing toward
Louis, casting giant shadows on the walls.
LOUIS
He is paralyzed with fear.
LOUIS
(trembling)
Nice doggie. Nice.
THE TERROR DOG
It pounces with a tremendous roar.
INT. TAVERN ON THE GREEN -- NIGHT
The roar echoes through the restaurant. There is the sound of a violent
struggle, then all is quiet. Nobody notices.
COLUMBUS CIRCLE LATER
Louis walks out of the park, walking stiffly with a glazed look in his
eyes. He sees a horse and carriage parked at the curb. He goes right up
to the horse and speaks to it, obviously possessed by the Terror Dog.
LOUIS
(to the horse)
I am Vinz Clortho. Keymaster of Gozer,
Volguus Zildrohar, Lord of the Sebouillia.
Are you the Gatekeeper?
The COACHMAN sees Louis talking to his horse.
COACHMAN
Hey! He pulls the wagon. I make the deals.
You wanna ride?
LOUIS
(to Coachman)
Are you the Gatekeeper?
COACHMAN
No, I'm the Governor of New Jersey. Now get
outta here.
Louis glares at the Coachman. His eyes begin to glow, magically.
LOUIS
(to Coachman)
You will perish in flames, subcreature!
Gozer will destroy you and your kind!
(he whispers to the horse)
Wait for the sign. Then all prisoners will
be released.
Louis lopes off across the street. The cars come screeching to a halt to
avoid hitting him.
THE STREET
TWO MOUNTED POLICEMEN notice his strange behavior and follow him down the
street.
EXT. DANA'S APARTMENT BUILDING -- NIGHT
Venkman enters dressed neatly in a suit, holding a bouquet of flowers for
Dana. He sees two COPS talking to dishevelled party guests. He sidles up
to one of the cops.
VENKMAN
What's going on?
THE COP
Some moron brought a cougar to a party and
it went berserk,
VENKMAN
Oh.
He goes to the elevators.
INT. HALLWAY -- NIGHT
Venkman walks past Louis' apartment and curiously notes the splintered
door. Then he rings Dana's bell, waits, rings again and knocks.
VENKMAN
(calls out)
Dana?
The door opens and Dana is standing there, but she has changed radically
from the woman we met earlier. Her hair is down, flowing loosely over
her naked shoulders, her eyes are wide open, filled with a kind of
love-slave longing, her lips are parted and wet and her clothes are
seductively tattered. She stares at Venkman.
VENKMAN (CONT'D)
Hi.
(he notes the change in
her)
What happened to you? The cop downstairs
said an animal got loose up here. What's
the story? Are you all right?
She stares at him as if she hasn't heard a word he said.
DANA
Are you the Keymaster?
Venkman realizes that something bizarre has happened.
VENKMAN
Not that I know of.
She starts to close the door but Venkman slides past her into the
apartment.
VENKMAN (CONT'D)
(worried now)
Hey, Dana. What is it? What happened?
DANA
I am Zuul. I am the Gatekeeper.
He looks around the apartment and notices the holes ripped in the chair.
Then he sees the kitchen doorframe charred and blackened with soot.
VENKMAN
I think we better get out of here.
DANA
She crosses to the window and gazes at the sky as if waiting for
something.
DANA
We must prepare for the coming of Gozer.
VENKMAN
(humoring her)
Okay, I'll help you. Should we make some
dip or something?
DANA
He is the Destructor.
VENKMAN
Really? Can't wait to meet him.
(he has an idea)
As long as we're waiting for him, I'd really
like to try something with you -- in the
bedroom.
He takes her hand and she yields. They enter the bedroom.
INT. DANA'S BEDROOM -- NIGHT
They enter and Venkman steers her onto the bed.
DANA
(wantonly)
Do you want this body?
VENKMAN
(taking her pulse)
Well, I'll just use it for a while and get
it right back to you.
DANA
Take me now.
He checks her pupil dilation with a penlight.
VENKMAN
Well, I make it a rule never to sleep with
possessed people.
She pulls him down on top of her and kisses him with supernatural lust.
VENKMAN
(coming up for air)
Actually, it's more of a policy than a rule.
DANA
(stroking him)
I want you inside me.
VENKMAN
(reluctant)
I don't know. You've got two people in
there already. It could get a little
crowded.
(he gently pushes her back
down on the bed)
I want you to close your eyes and relax.
(she complies)
Now I'm going to speak to Dana and I want
Dana to answer.
DANA
I am Zuul. I am ...
VENKMAN
Right ... You're the Gatekeeper. But I want
Dana. Dana, speak to me ...
DANA
(in a low, horrible
unearthly voice)
There is no Dana. I am Zuul.
VENKMAN
(recoils)
Whoa!! Nice voice.
She starts to sit up, but he restrains her with a light touch on the
shoulder.
VENKMAN (CONT'D)
(trying another approach)
All right -- Zuul. Listen carefully. I
don't know where you came from or why, but
I want you to get out of here and leave Dana
alone. I'm going to count to ten and when
I'm finished, you better be gone. Okay?
Here goes. One ... Two ... Three ...
A shudder runs through Dana's body, then she slowly starts to levitate,
rising a full three feet off the bed.
VENKMAN (CONT'D)
(aghast)
Wow!
He stands up and circles around the bed looking for some sort of
explanation. He passes his hands over her, then under her, looking for
wires or a force field. Then he makes a few theatrical moves like a cheap
magician.
EXT. HUDSON PARKWAY -- SAME NIGHT
Ecto One speeds northward, strobes lit.
INT. ECTOMOBILE -- NIGHT
Winston is at the wheel. Stantz pops open a beer and lights a smoke. They
both look completely wasted. Stantz is looking over some blueprints.
WINSTON
Hey man. What is it you're so involved with
there?
STANTZ
Uh ... Oh these are blueprints of the
structural ironwork in Dana Barrett's
apartment building ... And they're most
unusual.
WINSTON
(changing the subject)
Are you a Christian, Ray?
STANTZ
(examining documents)
Mmmhmmm.
WINSTON
Me, too.
STANTZ
(reacting to something in
the blueprint)
Boy! Solid cores of shielded Selenium .325.
WINSTON
Do you believe in God?
STANTZ
No. But I liked Jesus' style.
WINSTON
Me, too. Parts of the Bible are great.
STANTZ
(hardly listening)
The whole roof cap was fabricated with a
magnesium-tungsten alloy.
WINSTON
Ray, do you remember something in the Bible
about a day when the dead would rise up from
their graves?
STANTZ
(still absorbed by the
blueprint)
And the seas would boil ...
WINSTON
Right. And the sky would fall ...
STANTZ
Judgement Day ...
WINSTON
Yeah, Judgement Day.
STANTZ
Every ancient religion had its own myth
about the end of the world.
WINSTON
Well, has it ever occurred to you that the
reason you've been so busy lately is because
the dead have been rising from their graves?
They exchange a look of puzzlement and concern.
EXT.. FORT DETMERRING -- NIGHT -- SAME TIME
Ecto One pulls up to a pair of massive parapets and a hewn timber gate set
in a thick redoubt on an escarpment high above the river. Two figures
approach them from the shadows. As they draw closer, Stantz and Winston
see their Stetson hats and uniforms.
PARK RANGER
Evening. We've had a problem here for quite
some time. I called your outfit a couple of
weeks ago.
WINSTON
Busy time of year.
PARK RANGER
Nobody likes to talk about this sort of thing.
STANTZ
You don't have to worry about that with us,
sir.
WINSTON
Right. We'll believe anything.
INT. FORT -- GUNNER'S CORRIDOR -- NIGHT
Stantz and Winston walk past a long line of cannon. Their visors are
down. They wear the usual equipment.
STANTZ
You check the armory. I'll go down to the
officers' barracks.
They split up. Winston takes a long, low passageway. Stantz descends a set
of stone stairs. They both leave frame. The sound of their separate
footsteps fades O.S.
EXT. FIREHALL -- NIGHT -- SAME TIME
A police van pulls up, the garage door opens and Spengler comes out of the
building. He meets a POLICE SERGEANT. They walk around to the back door
of the van.
SERGEANT
We picked up this guy and now we don't know
what to do with him, Bellevue doesn't want
him and I'm afraid to put him in the
lock-up. I'm telling you, there's something
weird about him. And I know you guys are
into this stuff so we figured we'd check
with you.
The Sergeant unlocks the door and pulls it open.
INT. THE POLICE VAN -- NIGHT
Louis is on the floor wearing a strait jacket. He is tied to the bench
with leather restraint straps and ankle cuffs.
LOUIS
(forlorn)
Are you the Gatekeeper?
Spengler notes the strange glow in Louis' eyes,
SPENGLER
Bring him inside, Officer.
INT. BASEMENT -- LATER
Louis is hooked up to a variety of strange contraptions including
something on his head that looks like an aluminum mixing bowl wired with
hundreds of electrodes. Spengler monitors Louis' reactions as he
questions him. Janine watches.
LOUIS
I am Vinz Clortho - Keymaster of Gozer.
SPENGLER
(reacts to the name Gozer)
I am Egon Spengler, Creature of Earth,
Doctor of Physics, Graduate of M.I.T.
JANINE
(looking through Louis'
wallet)
According to this his name is Louis Tully.
LOUIS
Oh, no. Tully is the fleshbag I'm using.
I must wait inside for the sign.
JANINE
Do you want some coffee while you're waiting?
LOUIS
(to Spengler)
Do I?
SPENGLER
Yes, have some.
(Janine goes to the table
and puts some water up to
boil)
Vinz, what sign are you waiting for?
LOUIS
Gozer the Traveller will come in one of the
pre-chosen forms. During the rectification
of the Vuldronaii the Traveller came as a
very large and moving Torb. Then of course
in the third reconciliation of the last of
the Meketrex supplicants they chose a new
form for him, that of a Sloar. Many Shubs
and Zuuls knew what it was to be roasted in
the depths of the Sloar that day I can tell
you.
Spengler stares at Louis for a moment then looks over at Janine.
JANINE
She rolls her eyes at Spengler and mimes the traditional sign for lunacy
by pointing to her temple and tracing a circle with her index finger.
Then the phone rings and Spengler answers it.
SPENGLER
Hello?
INT. DANA'S BEDROOM -- SAME TIME
Venkman is lying on the bed with the phone. Dana is asleep next to him,
still floating three feet in the air with a blanket over her.
VENKMAN
It's Peter, Egon. I've got a problem.
INTERCUT SPENGLER AND VENKMAN
SPENGLER
What is it?
VENKMAN
I'm with Dana Barrett and she's floating
three feet off the bed.
SPENGLER
Does she want to be?
VENKMAN
I don't think so. It's more of that Gozer
thing. She says she's the Gatekeeper. Does
that make any sense to you?
SPENGLER
Some. I just met the Keymaster. He's here
with me now.
(there's a long silence
on the other end)
Venkman? Are you there?
VENKMAN
Yeah, yeah. I was just thinking. It
probably wouldn't be a good idea for them
to get together at this point.
SPENGLER
I agree.
VENKMAN
You have to keep him there. Do whatever you
have to, but don't let him leave, He could
be very dangerous.
SPENGLER
He looks nervously at Louis.
LOUIS
He pours some instant coffee crystals into his mouth and chews them up,
then he drinks a beaker of boiling water that's been heating over a Bunsen
Burner.
SPENGLER
(into the phone)
All right. I'll try.
VENKMAN
I'll spend the night here and get back first
thing in the morning.
SPENGLER
All right, Peter. Good night.
They hang up.
JANINE
She crosses to Spengler.
JANINE
(worried)
Egon, there's something very strange about
that man.
(she indicates Louis)
I'm very psychic usually and right now I
have this terrible feeling that something
awful is going to happen to you. I'm afraid
you're going to die.
SPENGLER
Die in what sense?
JANINE
In the physical sense.
SPENGLER
I don't care. I see us as tiny parts of a
vast organism, like two bacteria living on
a rotting speck of dust floating in an
infinite void.
JANINE
That's so romantic.
She hugs him, Spengler responds awkwardly, not sure where to put his
hands.
SPENGLER
(nervous)
You have nice clavicles.
(he gulps)
I wonder where Stantz is. I think we're
going to need him.
INT. FORT DETMERRING -- SINGLE OFFICERS' QUARTERS -- NIGHT
Stantz is in a painstakingly restored period room with a four poster bed,
writing table and wardrobe hung with uniforms. His own jumpsuit and
backpack lie in a heap beside the bed. He fingers an officer's uniform
then tries it on. He steps to a full-length mirror and models it, striking
a few heroic poses. He shrugs, sits on the bed, bouncing the mattress and
squeezing it. He then lies down full length and tests it, hands behind
his head.
STANTZ
He yawns. His eyes droop, blink and finally close. His head lolls
sideways, his mouth drops open slightly and he drops off to sleep,
exhausted.
INT. WARDROBE -- NIGHT
A uniform sleeve moves slightly. A sabre in its sheath begins to tap
lightly against the open doorsash. A phosphorescent light streaks out in
between gaps in the clothing, casting patterns over the room.
STANTZ' PACK AND WANDS
A panel light winks on. The needle on his PKE meter jumps into the red.
STANTZ
He rolls over. From inside the wardrobe a shimmering pink mist rises up
and begins to take form on the ceiling.
MIST
The vaguest remnants of a human form take shape. It hovers and shifts as
if appraising Stantz,
STANTZ
He tosses and rolls onto his back, still deeply asleep.
BED CANOPY
The mist slithers in through the curtains and takes a position above him.
It begins to descend slowly.
STANTZ
The mist widens and elongates and sprawls in suspension over his body. He
wakes. The apparition is inches above his face. He gasps but can't move,
totally transfixed with fear.
STANTZ' POV
He is face-to-face with a lost soul. It is a beautiful feminine face. It
presses in closer. He sucks in his breath. Is he being smothered? The
gaunt figure then slides slowly away from his face and down to a spot
below his waist.
STANTZ
He props himself up on his elbows and looks down. Suddenly the apparition
vanishes. Then his belt comes undone as if pulled by an invisible hand
and his zipper slowly opens.
CLOSE-UP -- STANTZ' FACE
His look changes from fear to confusion to pleasure. He closes his eyes
and submits.
INT. BARRACKS CORRIDOR -- NIGHT
Winston is smoking a cigarette, ambling down the barracks corridor. He
hears voices and walks to the door of the barracks.
WINSTON
Stantz? You okay in there?
STANTZ
(from inside)
LATER, MAN!!
Winston shrugs and slinks out.
EXT. FIREHALL -- MORNING
Two cars pull up out front, a New York City Police car and a lime green
K-car with U.S. Government plates. They are followed by a Con Edison
utilities van and a County Sheriff's car. Peck gets out of the government
car. Two COPS step out and flank him. A POLICE CAPTAIN joins them and
they all enter the firehall.
INT. FIREHALL -- RECEPTION AREA
Janine is at her desk when the law enters and walks right past her.
PECK
(heading for the basement)
This way, Captain.
JANINE
(rushes over to block
their way)
I beg your pardon! Just where do you think
you're going?
PECK
Step aside, Miss, or I'll have you arrested
for interfering with a police officer.
JANINE
(not moving)
Who do you think you're talking to, Mister?
Do I look like a child? You can't come in
here without some kind of warrant or writ or
something.
Peck hands her the court orders.
PECK
(naming them)
Cease and desist all commerce order, seizure
of premises and chattels, ban on the use of
public utilities for non-licensed waste
handlers and a Federal Entry and Inspection
Order.
JANINE
(steps aside)
This is just like Poland.
Peck brushes past her and leads his cohorts toward the basement.
INT. BASEMENT -- LATER
Spengler is arguing with Peck. Louis is sitting quietly in the corner,
watching the argument with interest.
PECK
(high-handed)
I want to see what's in there. Now either
you shut off those "beams" or we'll shut
them off for you.
SPENGLER
(calmly)
You can see what's inside through the
monitor if you wish.
He switches it on.
PECK
(ignores it)
I'm not interested in TV right now.
EXT. FIREHALL
Venkman arrives in a taxi, sees the police cars parked outside and dashes
in.
INT. BASEMENT
The argument is still going on when Venkman enters and asserts himself.
VENKMAN
(to Policemen)
At ease, Officers. I'm Peter Venkman. I
think there's been some kind of
misunderstanding here and I want to cooperate
in every way I can.
PECK
(turns on him immediately)
Forget it, Venkman. You had your chance to
cooperate but you thought it was more fun to
insult me. Now it's my turn, smart-ass.
SPENGLER
(excited)
He wants to shut down the storage grid.
VENKMAN
If you turn that thing off we won't be
responsible for the consequences.
PECK
On the contrary! You will be held
completely responsible.
(to the Con-Ed Man)
Turn it off.
The CON-ED MAN steps to the control panel and looks at the switches,
meters and chasing lights.
VENKMAN
(to the Con-Ed Man)
Don't do it! I'm warning you.
THE CON-ED MAN
He looks nervously at the Police Captain.
CON-ED MAN
I've never seen anything like this before.
I don't know ...
PECK
(enraged)
Just do it, fella. Nobody asked for your
opinion.
The Con-Ed Man reaches for a switch but Venkman grabs him from behind.
VENKMAN
(to the Con-Ed Man)
Don't be a jerk!
The Cops grab Venkman and drag him off the Con-Ed Man.
PECK
If he tries that again, shoot him.
The Captain looks at Peck with contempt.
CAPTAIN
(to Peck)
You do your job, pencil-neck. Don't tell
us how to do ours.
VENKMAN
Thank you, Officer.
PECK
(to Con-Ed Man)
Now turn it off.
The Cops slacken their hold on Venkman. He looks at Spengler, worried.
SPENGLER
He mimes an explosion with his hands.
VENKMAN
He nods and backs towards the door. Spengler gets the same thought.
LOUIS
He sees Spengler backing away and starts to do the same.
CONTROL PANEL
The Con-Ed Man turns all the switches to the OFF position. The panel
lights go out.
POWER METER
The needle indicator drops to zero.
PECK
He feels the floor start to shake.
VENKMAN, SPENGLER AND LOUIS
They run like crazy for the stairs. Spengler grabs Janine on the way out.
THE STORAGE FACILITY
A strange light starts to leak through the cracks between the concrete
blocks. Suddenly one of the blocks is blown across the room.
EXT. THE FIREHALL
Everyone comes running out as the storage facility explodes. A powerful
geyser of irridescent energy shoots out the top of the building like a
phenomenal Roman Candle reaching a hundred feet in the air.
INT. DANA'S BEDROOM -- THAT INSTANT
As the explosion rumbles in the distance, Dana's eyes pop open as if cued
by the blast.
EXT. FIREHALL -- SAME TIME
Venkman, Spengler and the others are dodging and ducking a shower of
debris.
LOUIS
He stands there oblivious to the danger, looking up at the glowing geyser
of energy. Janine is beside him.
LOUIS
It is time. This is the sign.
JANINE
It's a sign, all right ... "Going Out Of
Business."
Louis walks off down the street as if in the grip of some powerful psychic
compulsion. The others are too busy to notice his departure.
EXT. LOWER MANHATTAN
A wide shot of the island shows the glistening geyser spurting high into
the air. The irridescent cloud, generated by the geyser starts moving
across Manhattan toward Dana's building. Sirens are screaming all over
town as police cars, fire trucks and emergency vehicles race to the scene.
EXT. FIREHALL -- LATER
Firetrucks, police cars, Con-Ed trucks and a general mob are assembled,
watching the roof of the building which is spurting a translucent blue
substance. It looks like a massive natural gas flame. Bits of ecto
material rain down on the on-lookers.
SPENGLER
Flanked by police, he tries to answer questions from fire department
officials and a hazardous chemical EXPERT in a bulky decontamination suit.
GUY IN SUIT
... does it contain TCE, PCB or tailings
from styrene esters or any polyfluoric
groups...?
FIRE CAPTAIN
What are the pink particles? What will
happen if we use water?
Spengler just shakes his head.
SPENGLER
No ... no water. There's nothing you can do.
FIRE CAPTAIN
Did you have any kind of solvents or any
concentrated sulphurs of any kind?
Ecto One pulls up. Winston and Stantz jump out. Stantz finds Venkman and
Spengler.
STANTZ
What happened??!!!?
SPENGLER
The storage facility blew. This one ...
(indicates Peck)
... shut off the protection grid.
VENKMAN
Suddenly remembers another problem.
VENKMAN
(to Spengler)
Where's the Keymaster?
SPENGLER
(looks for Louis)
Oh, shit!
STANTZ
(at a loss)
Who's the Keymaster?
Spengler looks at Venkman. They both tear off to find Louis but Peck
intervenes.
PECK
(to a Cop)
Stop them! I want them arrested, Captain.
These men have been acting in criminal
violation of the Environmental Protection
Act and this explosion was a direct result.
The Police Captain restrains Venkman from leaving.
VENKMAN
(shouts at Peck)
You turned off the power!
(to Captain)
Look, there was another man here ... You
have to find him and bring him back. A
short determined-looking guy with the eyes
of a happy zombie.
PECK
(to the Cop)
See! They are using drugs.
Spengler turns on Peck with uncharacteristic fury.
SPENGLER
If you don't shut up I'm going to rip out
your septum.
Peck backs off.
POLICE CAPTAIN
(exasperated)
I don't know what's going on here but I'm
going to have to arrest you all. You can
discuss it with the judge. I'm going to
read you your rights now, so please listen
carefully ...
EXT. THE BOWERY
Louis walks briskly and purposefully uptown, gazing at the symmetrical
lights in the sky.
SUBWAY ENTRANCE
As Louis walks by, a huge crowd of people descends the stairs into the
subway. The last of them disappears around the corner. Then echoing
screams are heard and the whole crowd comes charging back up the stairs
pursued by a strange apparition.
INT. DANA'S APARTMENT
She is standing at the open bedroom window gazing down into the streets
below.
EXT. SEDGEWICK HOTEL -- SAME TIME
A Sabrett HOT DOG VENDOR is dispensing pretzels and hot dogs from his
pushcart.
THE VENDOR
He opens the top of the bin and reaches in to get a bun. He feels around
inside, knowing the cart should be loaded with food. Then he peers inside
and yanks his arm out with a shout. He falls back in fear.
THE CART
The gluttonous Onion-Headed Vapor rises out of the pushcart stuffed with
hot dogs, buns and pretzels. It belches loudly at the gaping spectators,
then flits down the street with the pushcart following under its own
power.
EXT. EXXON BUILDING -- SAME TIME
A well-dressed BUSINESSMAN comes rushing out and jumps into a cab parked
at the curb.
INT.. THE BACK SEAT
The Businessman leans close to the safety partition and shouts his
destination.
BUSINESSMAN
Gulf and Western Building! And I'm in a
hurry so let's not dawdle.
THE FRONT SEAT
Through the windshield we see that the driver is a badly decomposed corpse
in a leather jacket and snap-brim cap.
THE PASSENGER
Through the partition he sees a skeletal hand reach out and start the
meter.
EXT. THE STREET
The cab peels away from the curb at tremendous speed and turns the wrong
way up a one-way street.
INT. AN OFFICE - SAME TIME
It's the accounts department of a major corporation. Young men and women
are working at typewriters and computer terminals in the sterile, modern
office.
A PROGRAMMER
She bends over at the file cabinets and something gooses her. She looks
around, miffed, but sees no one. She goes back to her desk. Her skirt
hikes up suddenly. She yanks it back down. Then she feels a strange, not
unpleasant tickling under her. She squirms. Her skirt goes up again. The
tickling gets unbearable, forcing her to stand. She walks briskly between
the rows of desks, trying to get to the ladies room, fighting to keep her
skirt down. Her co-workers begin to notice and laugh.
A TYPIST
She stands up to look and her blouse pops open.
THE OFFICE
All the women begin to scream and squirm as the invisible molester runs
wild in the office.
EXT. CENTRAL PARK -- SAME TIME
Louis enters a long dark pedestrian tunnel.
INSIDE THE TUNNEL
A gang of MUGGERS is smoking something in a weird pipelike device. One of
them sees the approaching silhouette of Louis and hisses to his cohorts.
The others all look and slowly begin to fan out across the width of the
tunnel.
LOUIS
He is staring straight ahead and entirely focused on his destination as
the muggers approach and confront him. He stops. They are deliberately
blocking his path.
MUGGER
(to Louis)
Okay ... give me.
Louis blinks stupidly.
LOUIS
Are you the Gatekeeper?
MUGGER
Come on. You want me to stick you? Come
on.
VINZ
I am Vinz Clortho. I am the Keymaster. Do
you bar my way?
MUGGER #2
Are you crazy, man? You don't give, Jino's
gonna rip you, man. Nobody gets by Jino.
LOUIS
(repeats)
Do you bar my way?
MUGGER
Yeah. We bar your way.
LOUIS
His eyes widen, he inhales deeply, then opens his mouth and roars.
Irridescent lights pour out of his mouth.
THE MUGGERS
They scream and run, horrified and disgusted by Louis' unearthly display.
EXT. STREET
The cab driven by the corpse weaves through traffic at breakneck speed.
Cars are forced up on the curb. Pedestrians run for safety.
INT. THE BACK SEAT
The Businessman is reading the Wall Street Journal, oblivious to the whole
situation.
EXT. ST. MARKS PLAYHOUSE -- DAY
A worn, graffiti-spattered $1.99 triple bill movie house in the New Wave
district near Second Avenue. The bill reads:
ALL NIGHT ALL DAY HORROR SHOW IN 3-D
INT. THEATER
The house is packed with hooting, jeering, beer-drinking potsmoking
downtowners, all wearing cardboard 3-D glasses. They are wildly razzing
and throwing things at the screen on which is running a bad sixties
British horror indie pic. The film breaks. The sound crackles off and the
lights come on. There is a storm of protest and abuse hurled at the
projectionist. Then from all around them there starts a thin whistling
whine. It builds above the shouts and jeers in the theater until everyone
stops to hear what it is. It is like no other sound ever heard -- a
piercing, all-permeating shrill whistle like the fan blades of some
massive unseen turbine beginning to rotate.
The lights in the theater flicker. The musty ancient curtains on either
side of the screen are picked up in an unseen wind which lifts them,
spreading dust and ripped old fabric about the house. There are shouts
and sounds and noises from deep beyond the recesses of the backstage. The
curtains are now flying in a serious wind. All the lights in the theater
go out except that from the projection booth. From a point in the center
of the screen, a searing bolt of phosphorescent light rips back along the
projection beam into the booth. The beam evolves into an etheric strand
of unified glistening particles. The wind dies down. People in the house
are hushed. They gaze transfixed as a procession of phantasms emerge in
single file through the illuminated screen. As if suspended on a
clothesline, they weave and bounce along the length of the pulsating beam,
and pass through the hole in the projection booth. The apparition is
gone. All is quiet. Then the audience bursts into wildly enthusiastic
applause.
INT. NYPD LOCK-UP
Winston is staring out through the bars talking to himself.
WINSTON
(depressed)
We're gonna get five years for this. Plus
they're gonna make us retrap all those
spooks. I knew I shouldn't have taken this
job.
He bangs on the bars and crosses to Venkman, Stantz and Spengler who are
huddled together looking at blueprints of Dana's building.
STANTZ
(intense)
Look at the structure of the roof cap. It
looks exactly like the kind of telemetry
tracker NASA uses to identify dead pulsars
in other galaxies.
SPENGLER
And look at this, Peter
(indicates another diagram)
Cold-riveted girders with selenium cores.
Venkman leans in to look but suddenly notices that they have an audience.
THE CELL
The Ghostbusters are surrounded by a motley assortment of BUMS, PUNKS,
HOODS and a particularly mean-looking gang of BIKERS, all listening
intently to their discussion.
VENKMAN
(to their cellmates)
Everybody with us so far?
The other prisoners mutter and scratch their heads, then drift off.
STANTZ
(back to his point)
The ironwork extends down through fifty feet
of bedrock and touches the water table!
He looks at Venkman who doesn't see the significance.
VENKMAN
(shrugs)
I guess they don't build them like they used
to, huh?
STANTZ
No! Nobody ever built them like this! The
architect was either an authentic whacko or
a certified genius. The whole building is
like a huge antenna for pulling in and
concentrating psychokinetic energy.
VENKMAN
Who was the architect?
STANTZ
He's listed on the blueprints as I. Shandor.
SPENGLER
(exclaims)
Of course!
(the others turn and look
at him)
Ivo Shandor, I saw his name in Tobin's
SPIRIT GUIDE. He started a secret society
in 1920.
VENKMAN
(putting it all together)
Let me guess -- Gozer Worshippers.
SPENGLER
Yes. After the First World War Shandor
decided that society was too sick to
survive. And he wasn't alone. He had close
to a thousand followers when he died. They
conducted rituals, bizarre rituals, intended
to bring about the end of the world.
VENKMAN
(now very worried about
Dana)
She said he was "the Destructor."
SPENGLER
Who?
VENKMAN
Gozer.
SPENGLER
(confused)
You talked to Gozer?
VENKMAN
Get a grip on yourself, Egon. I talked to
Dana Barrett and she referred to Gozer as
the Destructor.
STANTZ
(proud)
See? I told you something big was about to
happen.
Winston has heard enough.
WINSTON
This is insane! You actually believe that
some moldy Babylonian God is going to drop
in at 78th and Central Park West and start
tearing up the city?
SPENGLER
(corrects him)
Sumarian -- not Babylonian,
Winston just shakes his head. Then a uniformed GUARD appears with a
high-ranking POLICE OFFICIAL and unlocks the cell door.
POLICE OFFICIAL
Are you the Ghostbusters?
VENKMAN
What about it?
POLICE OFFICIAL
The mayor wants to see you -- right away.
The whole island is going crazy. Let's go.
They exit.
EXT. CITY HALL
The official cars arrive and the Ghostbusters are hustled past a mob of
reporters, all shouting questions at once.
REPORTERS
(as babble)
Are you under arrest? Did you have a bomb
factory in the basement? What are you going
to do about all these ghosts?
INT. MAYOR'S OFFICE
Secretaries and aides scurry about in a chaos of telephones and waiting
city officials. As the Ghostbusters are led through the outer offices,
everyone stops what they're doing to stare at them.
INT. OFFICE OF THE MAYOR OF NEW YORK CITY
The Ghostbusters enter and see a very concerned group of leaders arguing
like crazy. The Police and Fire Commissioners, State and City Police
Commandants, the Archbishop of the New York Diocese, the Regional Director
of the Environmental Protection Agency, the Governor of the State of New
York, and various other high-ranking officials.
THE AIDE
(entering with the
Ghostbusters)
The Ghostbusters are here, Mr. Mayor.
At once, the group turns and instantly regains perfect decorum.
THE MAYOR
He is a likeable Democrat and a man of the people -- particularly the
Irish, Italian and Jewish people.
MAYOR
(looking them over)
Okay, the Ghostbusters. And who's Peck?
Peck shoulders his way forward.
PECK
(adrenalin pumping)
I'm Walter Peck, sir. And I'm prepared to
make a full report.
(holds up dossier)
These men are complete snowball artists.
They use nerve and sense gases to induce
hallucinations. The people think they're
seeing ghosts and call these bozos, who
conveniently show up to get rid of the
problem with a fake electronic light show.
MAYOR
(to Venkman)
You using nerve gas?
VENKMAN
The man is a psychopath, Your Honor.
PECK
Probably a mixture of gases, no doubt stolen
from the Army ...
STANTZ
Bullshit!!!
PECK
... improperly stored and touched off with
those high-voltage laser beams they use in
their light show. They caused an explosion.
The Mayor looks for help from the assembled leaders,
FIRE COMMISSIONER
All I know is, that wasn't a light show we
saw this morning. I've seen every form of
combustion known to man, but this beats me.
POLICE COMMISSIONER
And nobody's using nerve gas on all the
people that have seen those ... things ...
all over the city. The walls were bleeding
at the 53rd Precinct. How do you explain
that?
He looks to the Archbishop. Everybody focuses on the ornately attired
Prelate.
ARCHBISHOP
Officially, the Church will not take a
position on the religious implications of
these ... phenomena. However, since they
started, people have been lining up at every
church in the city to confess and take
communion. We've had to put on extra
priests. Personally, I think it's a sign
from God but don't quote me on that.
MAYOR
(shaking his head)
I can't call a press conference and tell
everyone to start praying.
WINSTON
He steps forward.
WINSTON
I'm Winston Zeddemore, Your Honor. I've
only been with the company for a couple of
weeks, but I gotta tell you -- these things
are real. Since I joined these men I have
seen shit that would turn you white.
THE MAYOR
He rubs his eyes wearily.
MAYOR
(to Venkman)
So what do I do now?
VENKMAN
He seizes the moment.
VENKMAN
Mr. Mayor, it's a pretty simple choice.
You can believe Mr. Pecker here ...
PECK
(snaps)
That's "Peck!"
VENKMAN
(ignores him)
... or you can accept the fact that this
city is heading for a disaster of really
Biblical proportions.
MAYOR
What do you mean "Biblical?"
VENKMAN
Old Testament, Mr. Mayor. "Wrath of
God"-type stuff. The seas could boil, fire
and brimstone falling from the sky ...
STANTZ
(chimes in)
... forty years of darkness, earthquakes,
mass hysteria, human sacrifice ...
MAYOR
Enough! I get the point.
(really torn)
But what if you're wrong?
VENKMAN
If I'm wrong then nothing happens and you
toss us in the can. But if I'm right, and
if we can stop this thing ... well, let's
just say that you could save the lives of a
lot of registered voters.
The Mayor starts nodding affirmatively, clearly convinced by Venkman's
rational assessment.
PECK
(furious)
I don't believe you're seriously considering
listening to these men!
The Mayor takes a long look at Peck.
MAYOR
Get him out of here.
(Peck looks stricken)
We've got work to do. What do you need
from me?
EXT. DANA'S APARTMENT BUILDING - SAME TIME
Louis arrives in front of the building and looks up, Strange lights are
beginning to flash from the windows, He enters the building and a moment
later a huge tremor shakes the structure.
INT. DANA'S FLOOR
The elevator doors open and Louis gets out. A crowd of tenants rushes onto
the elevator clutching their most prized possessions. He gets through the
panicked tenants and walks down the hall.
MRS. BLUM, a neighbor, comes out of her apartment carrying an armload of
small appliances.
MRS. BLUM
Louis! What are you doing standing there
... get out of the building ... don't you
know it's an earthquake or something?
LOUIS
The Traveller is coming.
MRS. BLUM
Don't be crazy. Nobody is going to come and
visit you with all this commotion going on.
She rushes off leaving Louis alone in the hall. He goes to Dana's door
and mechanically knocks three times. His knocking echoes thunderously
throughout the building.
THE DOOR
It opens and Louis sees Dana standing there. A tremendous thunderclap
rattles the building.
LOUIS
(his eyes light up)
Are you the Gatekeeper?
DANA
(nods)
I am Zuul.
Hearing that, Louis grabs Dana with a passion that's been building in his
unconscious for 8000 years. He kisses her with savage lust and pulls her
to the floor out of frame as an explosive force blows through the
apartment.
INT. CITY HALL CORRIDOR
Venkman, Stantz and the Mayor walk briskly toward the vehicle dock at the
back of the building. Aides scurry along behind them, awaiting
instructions.
MAYOR
I don't understand it, Why here? Why now?
VENKMAN
What goes around, comes around, Mr. Mayor.
The big Lazy Susan of Karma just keeps
turning and sometimes we get the short end
of the stick.
STANTZ
This may be Nature's way of telling us to
slow down. You have to admit it's kind of
humbling, isn't it?
MAYOR
(shouts after them)
We're humble already! Hasn't this city
suffered enough?
They come out onto the loading dock.
EXT. LOADING DOCK
The Ectomobile is parked there. Winston and Spengler are charging all the
packs off the building current. There's a lot of police activity around
them as orders are dispatched.
A POLICE CAPTAIN reports to Venkman.
CAPTAIN
We've cleared the whole building and
cordonned off the street. I'm massing our
own special tactics squad and the National
Guard is on standby.
AIDE
I better alert the Red Cross, too.
SPENGLER
He looks up and sees Janine standing on the dock. She crosses to him.
JANINE
(a little teary)
I want you to have this.
(she hands him a coin)
SPENGLER
What is it?
JANINE
It's a souvenir from the 1964 World's Fair
at Flushing Meadow. It's my lucky coin.
SPENGLER
I don't believe in luck.
JANINE
Keep it anyway. I have another one at home.
SPENGLER
Thank you.
They hug.
THE ECTOMOBILE
Stantz, Venkman and Winston get in. Spengler rushes over and joins them.
INT. ECTOMOBILE
Venkman turns around and looks at his friends.
VENKMAN
Okay. Just remember, whatever happens out
there, we are total professionals. Not
only are we the best Ghostbusters around,
we're the only Ghostbusters around. It's
up to us.
They all shake hands. Then Venkman sticks his hand out the window and
signals like a cavalry officer.
VENKMAN (CONT'D)
(shouts)
Move 'em out!
EXT. REAR OF CITY HALL
A pair of police motorcycles comes roaring up the driveway followed by the
Ectomobile and two police cruisers. The motorcade turns up the street and
heads uptown at high speed. They pass a column of National Guard trucks.
EXT. DANA'S APARTMENT BUILDING
The street has been blocked off with police barricades but a huge crowd
has gathered nonetheless to watch the strange lights and flashes emanating
from the upper floors of the building.
THE CROWD
The news media are out in front filming and taping everything. A
contingent of Doomsday freaks is gathered with signs proclaiming "REPENT
FOR THE END IS AT HAND!" A few Catholic priests are kneeling, performing
rites of exorcism.
THE CROWD
A gang of punks is hanging around hoping for a disaster. A handful of
Hassidic Jews behind them are wailing in earnest. The police work to
restrain the crowd.
THE STREET
The screaming of sirens turns the attention of the crowd as the motorcade
arrives. As the Ectomobile rounds the corner a huge cheer goes up from
the crowd.
THE CROWD
The punks cheer. The Hassidic Jews wave their black hats and start dancing
for joy.
THE ECTOMOBILE
It pulls up in front of the building. The doors fly open and the
Ghostbusters all jump out at once. The crowd roars.
THE PRIESTS
They leap to their feet and give each other "high fives."
VENKMAN
He raises both fists like a victorious boxer.
VENKMAN
(shouts to the crowd)
Ghostbusters!
The crowd thunders its approval.
THE GHOSTBUSTERS
They quickly finish suiting up at the rear of the Ectomobile.
VENKMAN
(keyed up)
Are we all together on this now?
WINSTON
(in earnest)
I think we should get on a plane right now
and go to Australia or Indonesia until this
blows over.
VENKMAN
I'm going to make a note of your suggestion
and possibly bring it up later if this thing
really gets out of hand. Now let's move.
They start heading for the lobby entrance to the building,
VOICE IN CROWD (MAN)
Get 'em!
VOICE IN CROWD (GIRL)
All right, Ghostbusters!
The crowd applauds as the Ghostbusters approach the entrance.
THE GHOSTBUSTERS
They stop in front of the building and look up at the roof.
THEIR POV
A blinding flash of light shoots from the rooftop temple.
THE BUILDING ENTRANCE
The whole building seems to groan as if under enormous pressure. Then
suddenly the concrete facade cracks open and the pavement in front of the
building collapses dropping the Ghostbusters and a police car into the
enormous sinkhole. The crowd gasps.
THE SINKHOLE
There is a tense moment of silence, then the Ghostbusters pop up and climb
out of the pit.
VENKMAN
I've heard of underground parking but this
is ridiculous.
They flash the "okay" sign to the crowd and enter the building.
EXT. THE ROOFTOP -- SAME TIME
Dana and Louis emerge from the stairwell, approach the Temple and mount
the pedestals once occupied by the Terror Dogs.
THE TEMPLE
The walls begin to vibrate in response.
EXT. THE STREET BELOW
Blinding beams of light flash from all the windows.
INT. STAIRWELL
The Ghostbusters trudge up thirty-five flights of stairs.
INT. THIRTY-FIFTH FLOOR HALLWAY
The stairwell door opens and the Ghostbusters stagger into the hallway,
completely exhausted.
VENKMAN
(gasping and spitting)
I'm glad we took the stairs.
INT. DANA'S DOOR
The Ghostbusters arrive. The door frame is charred and blackened by soot.
Venkman rings the doorbell. DING-DONG.
VENKMAN
Dana?
WINSTON
Maybe we should go downstairs and call first?
Venkman knocks on the door and the door simply falls off its hinges and
crashes to the floor. The Ghostbusters gape at the damage to the
apartment.
INT. DANA'S APARTMENT
The exterior building wall is completely gone providing an unobstructed
view of the Hudson and New Jersey. All the furniture is overturned and
the other walls are cracked. A powerful wind blows through the apartment
fluttering the shredded curtains.
WINSTON
(ready to leave)
Well, she's not here. Let's go.
VENKMAN
No! The kitchen!
INT. THE KITCHEN
The team enters and sees that the refrigerator has been blown away
revealing a hole in the wall and the entrance to a stone staircase behind
it.
VENKMAN
He looks at the forbidding portal and turns to Stantz.
VENKMAN
(slaps his shoulder)
Go!
Stantz realizes that Venkman expects him to go first. He leads the charge
up the stairs.
EXT. THE ROOF
Dana and Louis stare at the Temple, then begin a miraculous and horrible
transformation into the hideous forms of the Terror Dogs.
THE TEMPLE
The solid stone walls rumble ominously and start to separate.
THE GHOSTBUSTERS
They come running out onto the roof and gape at the scene.
THE TEMPLE
The walls open completely revealing the secret architecture of the Temple:
A stone staircase leading to a set of monumental doors, and beyond them a
massive pyramid that appears to be suspended in mid-air with no visible
means of support.
LOUIS AND DANA
They complete their transformation into the Terror Dogs, which now turn
and snarl menacingly at the Ghostbusters.
THE GHOSTBUSTERS
They can't believe their eyes.
VENKMAN
(aghast)
Shit! I've been out with some real dogs,
but this is ridiculous!
The heavy rumbling of moving stone draws their attention back to the
temple.
THE TEMPLE
The Terror Dogs have now taken ritual positions on the staircase. The
heavy stone gates begin to open and a bright white light starts to emerge.
As the light descends the stairs a human form slowly materializes.
THE FORM
It is a thin, hollow-cheeked, distinguished looking man in his early
sixties. His eyes are burning red pin-holes, He looks around at the
spectacular rooftop view, then acknowledges the two Terror Dogs and starts
stroking them like house pets.
THE GHOSTBUSTERS
They stare at the apparition,
SPENGLER
(recognizes him)
It's Shandor - the architect!
WINSTON
I thought he died!
VENKMAN
It doesn't seem to have slowed him down any.
STANTZ
I don't think it's Shandor.
He gets to his feet and speaks sharply to Gozer.
STANTZ (CONT'D)
Gozer the Gozerian?
GOZER
He looks up and seems to notice the Ghostbusters for the first time.
STANTZ
He 'busts' Gozer.
STANTZ
(forceful)
As a duly-constituted representative of the
City of New York, and on behalf of the
County and State of New York, the United
States of America, the Planet Earth and all
its inhabitants, I hereby order you to cease
and desist any and all supernatural activity
and return at once to your place of origin
or next parallel dimension.
VENKMAN
(to Stantz)
Well, that ought to do it.
GOZER
He stands up to his full height and regards Stantz curiously.
GOZER
Are you a god?
STANTZ
(compulsively honest)
No.
GOZER
Then die!
He raises his arms and blows away the Ghostbusters with searing bolts of
energy.
THE GHOSTBUSTERS
Momentarily stunned, they tumble all the way down the stairs and almost
fall off the edge of the roof.
WINSTON
(to Stantz)
You should've said "yes!" He might have
been willing to negotiate.
Venkman gets to his feet first, really mad now.
VENKMAN
(setting his wands)
Okay. That's it! I'm gonna turn this guy
into toast.
The Ghostbusters leap into action. One by one they activate their Proton
packs and take up positions for an entrapment.
GOZER
He braces for the onslaught.
VENKMAN
He shoots a particle stream at Gozer.
GOZER
He leaps out of the way with superhuman agility and executes a perfect
double-flip with a half-twisting round-off at the end.
VENKMAN
He can't believe his eyes.
VENKMAN
Agile bastard, isn't he?
STANTZ
Forget the trapping! Just blast him!
The others adjust their units and they all blaze away at Gozer.
GOZER
He stands there calmly and absorbs the force of the streams. There is a
brilliant pink flash and Gozer disappears.
THE GHOSTBUSTERS
They stare for a long moment, finding it hard to believe that they won.
Then Winston lets out a triumphant whoop.
SPENGLER
He scans the temple with his PKE meter, not at all convinced the danger
has passed.
STANTZ
He bounds up the stairs.
STANTZ
(jubilant)
We neutronized him! The guy's a molecular
nonentity.
VENKMAN AND SPENGLER
He wants to believe it but sees the doubt on Spengler's face.
SPENGLER
(reading the meter)
Not necessarily.
There is a deep seismic rumble and the entire building begins to vibrate.
The Ghostbusters look around nervously as the entire building starts to
sway.
EXT. THE EAVES
Cement carvings and moldings around the edge of the roof crack and break
off.
EXT. THE STREET
The crowd screams and runs as cement debris rains down the side of the
building and crashes on the sidewalk.
THE GHOSTBUSTERS
They look up at the sky waiting for the big blow. An incredibly loud
thunderclap rocks the rooftop.
THE SKY
A bolt of lightning crackles from the swirling dark cloud and strikes the
rooftop.
The Ghostbusters stand there facing their new God like Moses on Mount
Sinai. And then Gozer speaks to them in a voice that can be heard
throughout Metropolitan New York and parts of New Jersey.
GOZER
SUBCREATURES! GOZER THE GOZERIAN, GOZER
THE DESTRUCTOR, VOLGUUS ZILDROHAR, THE
TRAVELLER HAS COME. CHOOSE AND PERISH.
VENKMAN
(shouting to be heard)
Is he talking to us?
WINSTON
What's he talking about? Choose what?
STANTZ
(to the heavens)
What do you mean "choose?" We don't
understand.
GOZER
CHOOSE!!
SPENGLER
I think he's saying that since we're about
to be sacrificed anyway, we get to choose
the form we want him to take.
STANTZ
You mean if I stand here and concentrate on
the image of Roberto Clemente, Gozer will
appear as Roberto Clemente and wipe us out?
SPENGLER
That appears to be the case.
VENKMAN
(quickly)
Don't think of anything yet. Clear your
minds. We only get one crack at this.
GOZER
The choice is made. The Traveller has come.
VENKMAN
(in a panic)
We didn't choose anything!
(to the others)
I didn't think of an image, did you?
SPENGLER
No.
They look at Winston.
WINSTON
My mind's a total void!
They all look at Stantz.
STANTZ
(guilty)
I couldn't help it! It just popped in
there!
VENKMAN
(desperately)
What? What popped in there?
STANTZ
(pointing)
Look!
They all turn and look to the south.
GHOSTBUSTERS POV
Looking south past Columbus Circle, they see part of something big and
white moving between the buildings accompanied by thunderous footsteps of
almost seismic proportions.
VENKMAN
He doesn't know what it is yet, but he knows it's coming.
VENKMAN
(desperately)
What is it? Ray, what did you think of?
BROADWAY AND 55TH
The massive white shape passes behind some buildings, offering a glimpse
of what appears to be a fat, white arm.
STANTZ
He's about to go into shock.
STANTZ
(babbling)
It can't be! It can't be!
COLUMBUS CIRCLE
The thundering footsteps continue to plod as the thing starts to emerge
from behind the buildings. Now we can see part of a blue garment covering
its enormous chest.
STANTZ
He recognizes the monster.
STANTZ
It's ... It's ... It's the STAY-PUFT
MARSHMALLOW MAN.
Winston, Venkman and Spengler gape.
THEIR POV
They look across the roof tops and see a large, square, white, bobbing,
laughing head atop a massive body of similar puffed white squares. The
being is dressed in a tiny sailor's hat, red bosun's whistle and lanyard
and a little blue vest with a button undone in the middle revealing a
little white belly. It is the cute, quintessential American brand symbol,
looming as large as Godzilla.
STANTZ (V.O.)
(desperately apologizing)
I tried to think of the most harmless thing
... something that could never destroy us
... something I loved from my childhood.
THE GHOSTBUSTERS
They watch the Marshmallow Man plodding toward them.
VENKMAN
AND YOU CAME UP WITH THAT?
STANTZ
The Stay-Puft Marshmallow Man! He was on
all the packages we used to buy when I was
a kid. We used to roast Stay-Puft
marshmallows at Camp Waconda!
VENKMAN
Great! The marshmallows are about to get
their revenge.
THE STAY-PUFT MAN
He plods relentlessly uptown toward the Ghostbusters' rooftop vantage
point. The ground rumbles as his big, soft feet come down on the
pavement.
THE STREET
People are fleeing in panic as the marshmallow feet pad along kicking over
lampposts and mail boxes.
A CAR
The driver jumps out just before an enormous white marshmallow foot comes
down and flattens his automobile.
THE GHOSTBUSTERS
They stand there helplessly watching the laughing bobbing head of the
Stay-Puft Man as he comes toward them.
VENKMAN
What now?
SPENGLER
(adjusting his thrower)
Full-stream with strogon pulse.
Venkman looks at Stantz. Stantz shrugs.
VENKMAN
(decides)
I guess that's all we've got.
They step to the edge of the roof, moving like warriors now ready to face
the consequences.
EXT. THE STREET
Peck comes running up to the front of the apartment building. People are
fleeing the oncoming monster. Peck grabs a COP who is just about to flee
himself.
PECK
(in a rage)
Are the Ghostbusters up there?
COP
(desperate to get away)
Yeah!
PECK
I want you to go up on the roof and arrest
them. This time they've gone too far.
The Cop looks at Peck like he's insane, then sees the Stay-Puft Man
looming up at the end of the block.
COP
(knocking Peck's hands
away)
You arrest them, numb nuts! I'm getting out
of here.
He runs off. Peck turns to face the monster.
THE STAY PUFT MAN
The ground shakes with every step as he reaches the building. Then, using
the church next door as a stepping stone, he begins climbing the wall.
THE GHOSTBUSTERS
They look over the edge of the roof as the Marshmallow Man climbs higher
and higher.
VENKMAN
(shouts)
Hit him!
They each fire point blank at the Stay-Puft Man.
THE STAY-PUFT MAN
He bellows with pain and rage as the beams strike him right in the chest
and set his skin on fire. He begins to burn with a blue flame that
spreads quickly across his torso and down his arms. The Stay-Puft Man
bellows even louder, flailing its huge arms in response to the searing
flames that are starting to engulf him.
THE GHOSTBUSTERS
They stare at the horrible conflagration.
WINSTON
Good. Now we made him mad.
THE STAY-PUFT MAN
Carbonous, flaming hunks of melting marshmallow are flying from his arms
as he waves them in wild rage.
THE STREET
Peck stands there paralyzed with fear. A mass of flaming marshmallow
falls and flattens a news stand nearby. Then a huge glob of sticky
toasted marshmallow comes zipping down from above and lands right on him,
burying him up to his neck in melted sucrose.
THE STAY-PUFT MAN
The flaming monster keeps coming intent on their destruction. Most of his
chest has melted away revealing horrid musculature and a skeletal rib
cage.
THE GHOSTBUSTERS
They square off and face him for the last time, their weapons poised.
VENKMAN
(calmly)
We're going to be killed by a hundred-foot
marshmallow.
THE STAY-PUFT MAN
He is almost on them now, fully engulfed in flames, reaching for them,
ready to swat them with his burning fist.
VENKMAN
(to the others)
On the count of three! One ... Two ...
SPENGLER
(he has the best idea of
his life)
No! Them! Shoot them!
(he points at the Terror
Dogs)
Cross the beams.
THE TERROR DOGS
They stand beside the portal literally petrified.
VENKMAN
He hesitates.
VENKMAN
(protesting)
No! You said crossing the beams would be
BAD. It'll kill her! And us!
SPENGLER
Life is just a state of mind.
VENKMAN
But it's my favorite state.
STANTZ
Either way we're history.
THE STAY-PUFT MAN
His burning fist is starting to descend on the Ghostbusters.
VENKMAN
He chooses the only way out.
VENKMAN
(shouts)
Now!!
THE GHOSTBUSTERS
They turn and fire at the two petrified Terror Dogs and blow them to
oblivion. The entire front of the temple is obliterated along with the
door.
THE STAY-PUFT MAN
With the destruction of his earthly portal, the flaming monster is
suddenly engulfed in a cyclonic wind that begins to swirl around him like
a fire-storm. The flames are whipped higher and higher as the tornado
begins to pick up rotational speed. Then the Marshmallow Man seems to
explode from deep inside creating a flaming air burst high above the
rooftops.
THE ROOFTOP
The Ghostbusters are blasted off their feet.
THE SKY
The fireball reaches its maximum explosive force, then a sudden jet of air
pressure occurs like a titanic vacuum cleaner in the sky and sucks the
flaming mass of gasses and ash up through our atmosphere and right out of
our dimension. The dark clouds disappear with it, leaving a beautiful
clear blue sky over the whole area.
THE TEMPLE
It now looks like an ancient ruin.
THE GHOSTBUSTERS
They are lying at the foot of the stairs. Everything is still. One by one
they get slowly to their feet and look around to see that the crisis has
passed.
STANTZ
Everybody okay?
Venkman looks up at the portal.
THE TERROR DOGS
They are still on the pedestals but charred almost beyond recognition.
Venkman mounts the stairs and gazes sadly at the remains.
THE PEDESTAL
Venkman stands there mourning, then a slight movement under the blackened
skin of the Terror Dog catches his eye. The movement gets stronger, then
suddenly a human hand pokes through the carbonous coating.
VENKMAN
Hope surges in him and he starts frantically tearing away the black
coating, finally revealing Dana alive and well under the burnt skin of the
Terror Dog.
STANTZ AND SPENGLER
They peel the charred coating off Louis and help him to his feet.
LOUIS
He looks around wondering how he ended up on the roof of a wrecked
high-rise. He looks at his scorched and ripped suit crusted with the
still-smoking gobs of melted marshmallow.
LOUIS
(amazed)
Jeez! Somebody must have spiked the egg
salad.
VENKMAN
He helps Dana to her feet.
VENKMAN
Are you all right?
She looks around at the incredible scene.
DANA
(totally confused)
Oh, sure. I'm getting used to this.
LOUIS
(seeing Dana for the first
time)
I'm innocent! Honest, Dana. I never
touched you. Not that I remember anyway.
DANA
(getting annoyed)
All right, what happened to me?
VENKMAN
Nothing! We just got rid of that thing in
your kitchen.
DANA
Really! Is it gone?
VENKMAN
Yeah, along with most of your furniture and
a lot of your personal possessions. This
one took some work.
DANA
(noting the wrecked temple)
Thank you. Next time I want to break a
lease I'll know who to call.
She hugs him.
VENKMAN
This is going to cost you, you know. Our
fees are ridiculously high.
DANA
Talk to my accountant.
(she indicates Louis)
LOUIS
Oh, great! I bet we could write off all the
damage as an Act of God.
THE GHOSTBUSTERS
They look at each other and nod.
STANTZ
I'll go along with that.
EXT. STREET - NEAR THE APARTMENT - NIGHT THE TWO BUMS
They hear the cheering down the street as they cautiously inspect a
massive mound of cooling sucrose.
FIRST BUM
Well, that definitely looks like marshmallow
to me.
SECOND BUM
(sniffing it)
Yeah, it's some kind of mallow-type
substance - that's for sure.
FIRST BUM
You have to wonder why anybody would dump a
marshmallow that size right in the middle of
the street.
SECOND BUM
I wonder if there might not be a very large
cup of hot chocolate somewhere in the area.
FIRST BUM
That would definitely explain it.
EXT. THE STREET NIGHT
A happy throng of jubilant citizens is gathered outside the lobby entrance
to the apartment building.
THE ENTRANCE
The battered but victorious Ghostbusters emerge from the lobby. Venkman
and Dana are holding hands. The crowd roars with unrestrained joy and
gratitude, Janine runs over and hugs Spengler enthusiastically. The
Ghostbusters wave and head for the Ectomobile parked at the curb.
THE GHOSTBUSTERS
They get into the Ectomobile and drive off with lights flashing and sirens
screaming as the crowd cheers wildly.
THE END
Extract Text From Multiple Web Pages#
Let’s quickly demonstrate how we might extract the screenplay text for every URL in the DataFrame. To do so, we’re going to create a smaller DataFrame from the Cornell Movie Dialogue Corpus, which consists of the first 10 movies.
sample_urls = urls[:10]
sample_urls
| id | movie_title | script_url | |
|---|---|---|---|
| 0 | m0 | 10 things i hate about you | http://www.dailyscript.com/scripts/10Things.html |
| 1 | m1 | 1492: conquest of paradise | http://www.hundland.org/scripts/1492-Conquest... |
| 2 | m2 | 15 minutes | http://www.dailyscript.com/scripts/15minutes.... |
| 3 | m3 | 2001: a space odyssey | http://www.scifiscripts.com/scripts/2001.txt |
| 4 | m4 | 48 hrs. | http://www.awesomefilm.com/script/48hours.txt |
| 5 | m5 | the fifth element | http://www.scifiscripts.com/scripts/5thelemen... |
| 6 | m6 | 8mm | http://www.dailyscript.com/scripts/eight-mill... |
| 7 | m7 | a nightmare on elm street 4: the dream master | http://www.hundland.org/scripts/A-Nightmare-o... |
| 8 | m8 | a nightmare on elm street: the dream child | http://www.hundland.org/scripts/A-Nightmare-o... |
| 9 | m9 | the atomic submarine | http://leonscripts.tripod.com/scripts/ATOMICS... |
We’re going to make a function called scrape_screenplay() that includes our requests.get() and response.text code.
def scrape_screenplay(url):
response = requests.get(url)
html_string = response.text
return html_string
Then we’re going apply it to the “script_url” column of the DataFrame and create a new column for the resulting extracted text.
sample_urls['text'] = sample_urls['script_url'].apply(scrape_screenplay)
sample_urls
| id | movie_title | script_url | text | |
|---|---|---|---|---|
| 0 | m0 | 10 things i hate about you | http://www.dailyscript.com/scripts/10Things.html | <html>\r\n<head>\r\n<title>10 Things I Hate Ab... |
| 1 | m1 | 1492: conquest of paradise | http://www.hundland.org/scripts/1492-Conquest... | <h1>404: Not Found</h1>\n |
| 2 | m2 | 15 minutes | http://www.dailyscript.com/scripts/15minutes.... | <html>\r\n<head>\r\n<title>15 Minutes script b... |
| 3 | m3 | 2001: a space odyssey | http://www.scifiscripts.com/scripts/2001.txt | Note from poster to Kubrick newsgroup:\r\n\r\n... |
| 4 | m4 | 48 hrs. | http://www.awesomefilm.com/script/48hours.txt | \n\t\t\t\t\t"48 HRS."\n\n\t\t\t\t\t by\n\n\t... |
| 5 | m5 | the fifth element | http://www.scifiscripts.com/scripts/5thelemen... | \t\t\t\tThe Fifth Element\r\n\r\n\t\t\t\tAn or... |
| 6 | m6 | 8mm | http://www.dailyscript.com/scripts/eight-mill... | <html>\n\n<head>\n <title>"8MM", by Andrew K... |
| 7 | m7 | a nightmare on elm street 4: the dream master | http://www.hundland.org/scripts/A-Nightmare-o... | <h1>404: Not Found</h1>\n |
| 8 | m8 | a nightmare on elm street: the dream child | http://www.hundland.org/scripts/A-Nightmare-o... | <h1>404: Not Found</h1>\n |
| 9 | m9 | the atomic submarine | http://leonscripts.tripod.com/scripts/ATOMICS... | <html>\r\n\r\n<head>\r\n <title>ATOMIC SUBMA... |
The DataFrame above is truncated, so we can’t see the full contents of the “text” column. But if we print out every row in the column, we can see that we successfully extracted text for each URL (though some of these URLs returned 404 errors).
for text in sample_urls['text']:
print(text)
<html>
<head>
<title>10 Things I Hate About You script by Karen McCullah Lutz, Kirsten Smith & William Shakespeare</title>
<meta name="description" content="10 Things I Hate About You script by Karen McCullah Lutz, Kirsten Smith & William Shakespeare">
<meta name="keywords" content="10 Things I Hate About You script, 10 Things I Hate About You movie script, 10 Things I Hate About You film script, 10 Things I Hate About You screenplay">
<meta http-equiv="content-type" content="text/html; charset=iso-8859-1">
<meta name="robots" content="index,follow">
<meta http-equiv="Content-Language" content="EN">
<meta name="objecttype" content="Document">
<meta name="Subject" content="Movie scripts, Film scripts">
<meta name="rating" content="General">
<meta name="distribution" content="GLOBAL">
<meta name="revisit-after" content="14 days">
<META NAME="AUTHOR" CONTENT="Daily Script">
<META NAME="OPERATOR" CONTENT="The Daily Script">
<META NAME="intsearch" content="dailyscript.com, daily script, the daily script, dailyscripts.com, daily scripts, movie scipts, movie screenplays">
</head>
<pre>
TEN THINGS I HATE ABOUT YOU
written by Karen McCullah Lutz & Kirsten Smith
based on 'Taming of the Shrew" by William Shakespeare
Revision November 12, 1997
PADUA HIGH SCHOOL - DAY
Welcome to Padua High School,, your typical urban-suburban
high school in Portland, Oregon. Smarties, Skids, Preppies,
Granolas. Loners, Lovers, the In and the Out Crowd rub sleep
out of their eyes and head for the main building.
PADUA HIGH PARKING LOT - DAY
KAT STRATFORD, eighteen, pretty -- but trying hard not to be
-- in a baggy granny dress and glasses, balances a cup of
coffee and a backpack as she climbs out of her battered,
baby blue '75 Dodge Dart.
A stray SKATEBOARD clips her, causing her to stumble and
spill her coffee, as well as the contents of her backpack.
The young RIDER dashes over to help, trembling when he sees
who his board has hit.
RIDER
Hey -- sorry.
Cowering in fear, he attempts to scoop up her scattered
belongings.
KAT
Leave it
He persists.
KAT (continuing)
I said, leave it!
She grabs his skateboard and uses it to SHOVE him against a
car, skateboard tip to his throat. He whimpers pitifully
and she lets him go. A path clears for her as she marches
through a pack of fearful students and SLAMS open the door,
entering school.
INT. GIRLS' ROOM - DAY
BIANCA STRATFORD, a beautiful sophomore, stands facing the
mirror, applying lipstick. Her less extraordinary, but
still cute friend, CHASTITY stands next to her.
BIANCA
Did you change your hair?
CHASTITY
No.
BIANCA
You might wanna think about it
Leave the girls' room and enter the hallway.
HALLWAY - DAY- CONTINUOUS
Bianca is immediately greeted by an admiring crowd, both
boys
and girls alike.
BOY
(adoring)
Hey, Bianca.
GIRL
Awesome shoes.
The greetings continue as Chastity remains wordless and
unaddressed by her side. Bianca smiles proudly,
acknowledging her fans.
GUIDANCE COUNSELOR'S OFFICE - DAY
CAMERON JAMES, a clean-cut, easy-going senior with an open,
farm-boy face, sits facing Miss Perky, an impossibly cheery
guidance counselor.
MISS PERKY
I'm sure you won't find Padua any
different than your old school. Same
little asswipe mother-fuckers
everywhere.
Her plastic smile never leaves her face. Cameron fidgets in
his chair uncomfortably.
MISS PERKY
(continuing)
Any questions?
CAMERON
I don't think so, ma'am
MISS PERKY
Then go forth. Scoot I've got
deviants to see.
Cameron rises to leave and makes eye contact with PATRICK
VERONA, a sullen-looking bad ass senior who waits outside Ms
Perky's door. His slouch and smirk let us know how cool he
is.
Miss Perky looks down at her file and up at Patrick
MISS PERKY
(continuing)
Patrick Verona. I see we're making our
visits a weekly ritual.
She gives him a withering glance. He answers with a charming
smile.
PATRICK
I missed you.
MISS PERKY
It says here you exposed yourself to a
group of freshmen girls.
PATRICK
It was a bratwurst. I was eating
lunch.
MISS PERKY
With the teeth of your zipper?
She motions for Patrick to enter her office and Cameron
shuffles out the door, bumping into MICHAEL ECKMAN, a lanky,
brainy senior who will either end up a politician or game
show host.
MICHAEL
You the new guy?
CAMERON
So they tell me...
MICHAEL
C'mon. I'm supposed to give you the
tour.
They head out of the office
MICHAEL
(continuing)
So -- which Dakota you from?
CAMERON
North, actually. How'd you ?
MICHAEL
I was kidding. People actually live
there?
CAMERON
Yeah. A couple. We're outnumbered by
the cows, though.
MICHAEL
How many people were in your old
school?
CAMERON
Thirty-two.
MICHAEL
Get out!
CAMERON
How many people go here?
MICHAEL
Couple thousand. Most of them evil
INT. HALLWAY - DAY- CONTINUOUS
Prom posters adorn the wall. Michael steers Cameron through
the crowd as he points to various cliques.
MICHAEL
We've got your basic beautiful people.
Unless they talk to you first, don't
bother.
The beautiful people pass, in full jock/cheerleader
splendor.
MICHAEL
(continuing)
Those 're your cowboys.
Several Stetson-wearing, big belt buckle. Wrangler guys
walk by.
CAMERON
That I'm used to.
MICHAEL
Yeah, but these guys have never seen a
horse. They just jack off to Clint
Eastwood.
They pass an espresso cart with a group of teens huddled
around it.
MICHAEL
(continuing)
To the right, we have the Coffee Kids.
Very edgy. Don't make any sudden
movements around them.
EXT. SCHOOL COURTYARD - DAY
Michael continues the tour
MICHAEL
And these delusionals are the White
Rastae.
Several white boys in dreadlocks and Jamaican knit berets
lounge on the grass. A cloud of pot smoke hovers above them
MICHAEL
(continuing)
Big Marley fans. Think they're black.
Semi-political, but mostly, they watch a
lot of Wild Kingdom, if you know what I
mean.
Michael waves to DEREK, the one with the longest dreads.
MICHAEL
(continuing)
Derek - save some for after lunch, bub?
DEREK
(very stoned)
Michael, my brother, peace
Cameron turns to follow Michael as they walk into the
cafeteria.
CAMERON
So where do you fit in all this?
INT. CAFETERIA - DAY - CONTINUOUS
Loud music and loud students. Michael sits with a group of
studious-looking teens.
MICHAEL
Future MBAs- We're all Ivy League,
already accepted. Someday I'll be
sipping Merlot while those guys --
He points to the table of jocks, as they torture various
passers-by.
MICHAEL
(continuing)
are fixing my Saab. Yuppie greed is
back, my friend.
He points proudly to the ALLIGATOR on his shirt.
Cameron stops listening as BIANCA walks by, and we go SLO
MO. Pure and perfect, she passes Cameron and Michael
without a look.
Cameron is smitten
CAMERON
That girl -- I --
MICHAEL
You burn, you pine, you perish?
CAMERON
Who is she?
MICHAEL
Bianca Stratford. Sophomore. Don't
even think about it
CAMERON
Why not?
MICHAEL
I could start with your haircut, but it
doesn't matter. She's not allowed to
date until her older sister does. And
that's an impossibility.
ENGLISH CLASS - DAY
A room full of bored seniors doodle and scare off into space
MS. BLAISE, the one-step-away-from-medication English
Teacher, tries to remember what she's talking about.
MRS. BLAISE
Well, then. Oh, yes. I guess that
does it for our analysis of The Old Man
and the Sea. Any other comments?
(with dread)
Kat?
Kat, the girl we saw as we entered the school, slowly cakes
off her glasses and speaks up.
KAT
Why didn't we just read the Hardy Boys?
MRS. BLAISE
I'm sorry?
KAT
This book is about a guy and his
fishing habit. Not exactly a crucial
topic.
The other students roll their eyes.
KAT
(continuing)
Frankly, I'm baffled as to why we still
revere Hemingway. He was an abusive,
alcoholic misogynist who had a lot of
cats.
JOEY DORSEY, a well-muscled jock with great cheekbones,
makes fun of her from his row.
JOEY
As opposed to a bitter self-righteous
hag who has no friends?
A few giggles. Kat ignores him. A practiced gesture
MRS. BLAISE
That's enough, Mr. Dorsey.
Really gets fired up now
KAT
I guess the school board thinks because
Hemingway's male and an asshole, he's
worthy of our time
She looks up at Ms. Blaise, who is now fighting with her
pill box.
KAT
(continuing)
What about Colette? Charlotte Bronte?
Simone de Beauvoir?
Patrick, lounging in his seat in the back row, elbows a
crusty-looking crony, identified by the name SCURVY,
embroidered on his workshirt.
PATRICK
Mother Goose?
The class titters. Kat wears an expression of intolerance
INT. GUIDANCE COUNSELOR'S OFFICE - DAY
Kat now sits before Miss Perky.
MISS PERKY
Katarina Stratford. My, my. You've
been terrorizing Ms. Blaise again.
KAT
Expressing my opinion is not a
terrorist action.
MISS PERKY
Well, yes, compared to your other
choices of expression this year, today's
events are quite mild. By the way,
Bobby Rictor's gonad retrieval operation
went quite well, in case you're
interested.
KAT
I still maintain that he kicked himself
in the balls. I was merely a spectator.
MISS PERKY
The point is Kat -- people perceive you
as somewhat ...
Kat smiles at her, daring her to say it.
KAT
Tempestuous?
MISS PERKY
No ... I believe "heinous bitch" is the
term used most often.
She grimaces, as if she's referring to a medical condition.
MISS PERKY
(continuing)
You might want to work on that
Kat rises from her chair with a plastic smile matching the
counselor's.
KAT
As always, thank you for your excellent
guidance.
INT. SOPHOMORE ENGLISH CLASS - DAY
Bianca ignores the droning teacher as she writes a note in
big flowing handwriting.
TEACHER (0.S.)
I realize the language of Mr.
Shakespeare makes him a bit daunting,
but I'm sure you're all doing your best.
Bianca folds the note and passes it behind her with a flip
of her hair to CHASTITY. Chastity opens the note and reads:
INSERT - "JOEY DORSEY SAID HI TO ME IN THE HALL! OH! MY
GOD!"
Chastity frowns to herself.
TEACHER (0.S.)
(continuing)
Ms. Stratford, do you care to comment
on what you've read so far?
Bianca looks up and smiles the smile of Daddy's little girl.
BIANCA
Not really.
The teacher shakes her head, but lets it go.
MANDELLA. a waif-like senior girl who sits off to the side
trying to slit her wrist with the plastic spiral on her
notebook, looks up and raises her hand.
TEACHER
Mandella -- since you're assisting us,
you might as well comment. I'm assuming
you read the assignment.
MANDELLA
Uh, yeah, I read it all
TEACHER
The whole play^
MANDELIA
The whole folio. All the plays.
TEACHER
(disbelieving)
You've read every play by William
Shakespeare?
MANDELLA
Haven't you?
She raises a challenging eyebrow. The stunned teacher
doesn't answer and goes to call on the next student.
EXT. SCHOOL COURTYARD - DAY
Mandella and Kat sit down in the quiet corner. They are
eating a carton of yogurt with gusto.
MANDELLA
Your sister is so amazingly without. She'll never read him.
She has no idea.
Kat attacks
KAT
The fact that you're cutting gym so you
can T.A. Sophomore English just to hear
his name, is a little without in itself
if you ask me.
Kat's attention is caught by Patrick as he walks by with his
friends, lighting up a cigarette. Mandella notices her
staring.
MANDELLA
Who's that?
KAT
Patrick Verona Random skid.
MANDELLA
That's Pat Verona? The one who was gone
for a year? I heard he was doing porn
movies.
KAT
I'm sure he's completely incapable of
doing anything that interesting.
MANDELLA
He always look so
KAT
Block E?
Kat turns back to face Mandella and forces her yogurt into
Mandella's hand.
KAT
(continuing)
Mandella, eat. Starving yourself is a
very slow way to die.
MANDELLA
Just a little.
She eats. Kat sees her wrist
KAT
What's this?
MANDELLA
An attempted slit.
Kat stares at her, expressionless.
KAT
I realize that the men of this fine
institution are severely lacking, but
killing yourself so you can be with
William Shakespeare is beyond the scope
of normal teenage obsessions. You're
venturing far past daytime talk show
fodder and entering the world of those
who need very expensive therapy.
MANDELLA
But imagine the things he'd say during
sex.
Thinks a minute
KAT
Okay, say you do it. You kill
yourself, you end up in wherever you end
up and he's there. Do you really think
he's gonna wanna dace a ninety pound
compulsive who failed volleyball?
Mandella's attention is struck by Bianca
ACROSS THE COURTYARD
As she and Chastity parade by Joey and his COHORTS One of
the cohorts elbows Joey.
COHORT
Virgin alert.
Joey looks up and smiles at Bianca.
JOEY
Lookin' good, ladies.
Bianca smiles her coyest of smiles.
BACK TO KAT AND MANDELLA Still watching.
MANDELLA
Tragic.
Doesn't respond
ANOTHER ANGLE
Michael and Cameron observe Joey's leers at Bianca from
their bench in another corner. Cowboys eating cue of a can
of beans linger on the grass behind them.
CAMERON
Why do girls like that always like guys
like that?
MICHAEL
Because they're bred to. Their mothers
liked guys like that, and their
grandmothers before them. Their gene
pool is rarely diluted.
CAMERON
He always have that shit-eating grin?
MICHAEL
Joey Dorsey? Perma-shit-grin. I wish
I could say he's a moron, but he's
number twelve in the class. And a
model. Mostly regional stuff, but he's
rumored to have a big tube sock ad
coming out.
The BELL rings, and the cowboys stand and spit into their
empty bean cans. Cameron and Michael rise as Cameron tries
to catch a glimpse of Bianca as she walks back inside.
MICHAEL
(continuing)
You know French?
CAMERON
Sure do ... my Mom's from Canada
MICHAEL
Guess who just signed up for a tutor?
CAMERON
You mean I'd get a chance to talk to
her?
MICHAEL
You could consecrate with her, my
friend.
Cameron watches as Bianca flounces back into the building.
EXT. SCHOOL PARKING LOT - DAY
Kat and Mandella walk toward Kat's car. Joey pulls up
beside her in his Viper.
JOEY
(re her dress)
The vintage look is over, Kat. Haven't
you been reading your Sassy?
KAT
Yeah, and I noticed the only part of
you featured in your big Kmart spread
was your elbow. Tough break.
JOEY
(practically
spitting)
They're running the rest of me next
month.
He zooms away as Kat yanks open the door of her Dart.
Mandella ties a silk scarf around her head, as if they're in
a convertible.
KAT
The people at this school are so
incredibly foul.
MANDELLA
You could always go with me. I'm sure
William has some friends.
They watch Joey's car as he slows next to Bianca and
Chastity as they walk toward the school bus.
ON BIANCA AND CHASTITY
JOEY
Need a ride, ladies?
Bianca and Chastity can't get in Joey's car fast enough. He
pulls away with a smile.
BACK TO KAT AND MANDELLA
Mandella lowers her sunglasses to watch.
MANDELLA
That's a charming new development
Kat doesn't answer, but reaches over and puts a tape in the
tape deck. The sounds of JOYFUL PUNK ROCK fill the car.
As they pull out, Michael crosses in front of them on his
moped. Kat has to SLAM the brakes to keep from hitting him
KAT
(yelling)
Remove head from sphincter! Then
pedal!
Michael begins fearfully, pedaling as Kat PEELS out, angry
at the delay.
Cameron rushes over
CAMERON
You all right?
He slows to a stop
MICHAEL
Yeah, just a minor encounter with the
shrew.
CAMERON
That's her? Bianca's sister?
MICHAEL
The mewling, rampalian wretch herself.
Michael putters off, leaving Cameron dodging Patrick's
grimy, grey Jeep -- a vehicle several years and many paint
jobs away from its former glory as a REGULATION MAIL TRUCK -
- as he sideswipes several cars on his way out of the lot.
INT. STRATFORD HOUSE - DAY
SHARON STRATFORD, attractive and focused, sits in front of
her computer, typing quickly. A shelf next to her holds
several bodice-ripper romance novels, bearing her name.
Kat stands behind her, reading over her shoulder as she
types.
KAT
"Undulating with desire, Adrienne
removes her crimson cape, revealing her
creamy --"
WALTER STRATFORD, a blustery, mad scientist-type
obstetrician, enters through the front door, wearing a
doctor's white jacket and carrying his black bag.
WALTER
I hope dinner's ready because I only have ten minutes before
Mrs. Johnson squirts out a screamer.
He grabs the mail and rifles through it, as he bends down to
kiss Sharon on the cheek.
SHARON
In the microwave.
WALTER
(to Kat)
Make anyone cry today?
KAT
Sadly, no. But it's only four-thirty.
Bianca walks in.
KAT
(continuing)
Where've you been?
BIANCA
(eyeing Walter)
Nowhere... Hi, Daddy.
She kisses him on the cheek
WALTER
Hello, precious.
Walter kisses Bianca back as Kat heads up the stairs
KAT
How touching.
Walter holds up a letter to Kat
WALTER
What's this? It says Sarah Lawrence?
Snatches it away from him.
KAT
I guess I got in
Sharon looks up from her computer.
SHARON
What's a synonym for throbbing?
WALTER
Sarah Lawrence is on the other side of
the country.
KAT
I know.
WALTER
I thought we decided you were going to
school here. At U of 0.
KAT
You decided.
BIANCA
Is there even a question that we want
her to stay?
Kat gives Bianca an evil look then smiles sweetly at
KAT
Ask Bianca who drove her home
SHARON
Swollen...turgid.
WALTER
(to Bianca; upset)
Who drove you home?
Bianca glares at Kat then turns to Walter
BIANCA
Now don't get upset. Daddy, but there's
this boy... and I think he might ask...
WALTER
No! You're not dating until your sister
starts dating. End of discussion.
BIANCA
What if she never starts dating?
WALTER
Then neither will you. And I'll get to
sleep at night.
BIANCA
But it's not fair -- she's a mutant,
Daddy!
KAT
This from someone whose diary is
devoted to favorite grooming tips?
WALTER
Enough!
He pulls out a small tape recorder from his black bag.
WALTER
(continuing)
Do you know what this is?
He hits the "play' button and SHRIEKS OF PAIN emanate from
the tape recorder.
BIANCA AND WALTER
(in unison, by
rote)
The sound of a fifteen-year-old in
labor.
WALTER
This is why you're not dating until
your sister does.
BIANCA
But she doesn't want to date.
WALTER
Exactly my point
His BEEPER goes off and he grabs his bag again
WALTER
(continuing)
Jesus! Can a man even grab a sandwich
before you women start dilating?
SHARON
Tumescent!
WALTER
(to Sharon; as he
leaves)
You're not helping.
INT. TUTORING ROOM - DAY
Cameron sits with an empty chair beside him. Bianca arrives
in a flurry of blonde hair.
BIANCA
Can we make this quick? Roxanne
Korrine and Andrew Barrett are having an
incredibly horrendous public break- up
on the quad. Again.
CAMERON
Well, I thought we'd start with
pronunciation, if that's okay with you.
BIANCA
Not the hacking and gagging and spitting part. Please.
CAMERON
(looking down)
Okay... then how 'bout we try out some
French cuisine. Saturday? Night?
Bianca smiles slowly
BIANCA
You're asking me out. That's so cute.
What's your name again?
CAMERON
(embarrassed)
Forget it.
Bianca seizes an opportunity.
BIANCA
No, no, it's my fault -- we didn't have
a proper introduction ---
CAMERON
Cameron.
BIANCA
The thing is, Cameron -- I'm at the
mercy of a particularly hideous breed of
loser. My sister. I can't date until
she does.
CAMERON
Seems like she could get a date easy
enough...
She fingers a lock of her hair. He looks on, dazzled.
BIANCA
The problem is, she's completely anti-social.
CAMERON
Why?
BIANCA
Unsolved mystery. She used to be
really popular when she started high
school, then it was just like she got
sick of it or something.
CAMERON
That's a shame.
She reaches out and touches his arm
BIANCA
Gosh, if only we could find Kat a
boyfriend...
CAMERON
Let me see what I can do.
Cameron smiles, having no idea how stupid he is
INT. BIOLOGY CLASS
A frog is being torn asunder by several prongs and picks.
Michael and Cameron go for the spleen.
MICHAEL
You're in school for one day and you
ask out the most beautiful girl? Do you
have no concept of the high school
social code?
Cameron grins away
CAMERON
I teach her French, get to know her,
dazzle her with charm and she falls in
love with me.
MICHAEL
Unlikely, but even so, she still can't
go out with you. So what's the
point?
Cameron motions with his head toward Patrick, a few lab
tables away. He's wearing biker glasses instead of goggles
as he tries to revive his frog.
CAMERON
What about him?
MICHAEL
(confused)
You wanna go out with him?
The others at the lab table raise their eyebrows
CAMERON
(impatient)
No - he could wrangle with the sister.
Michael smiles. Liking the intrigue.
MICHAEL
What makes you think he'll do it?
CAMERON
He seems like he thrives on danger
MICHAEL
No kidding. He's a criminal. I heard
he lit a state trooper on fire. He just
got out of Alcatraz...
CAMERON
They always let felons sit in on Honors
Biology?
MICHAEL
I'm serious, man, he's whacked. He
sold his own liver on the black market
so he could buy new speakers.
CAMERON
Forget his reputation. Do you think
we've got a plan or not?
MICHAEL
Did she actually say she'd go out with
you?
CAMERON
That's what I just said
Michael processes this.
MICHAEL
You know, if you do go out with Bianca,
you'd be set. You'd outrank everyone.
Strictly A-list. With me by your side.
CAMERON
I thought you hated those people.
MICHAEL
Hey -- I've gotta have a few clients
when I get to Wall Street.
A cowboy flicks the frog's heart into one of the Coffee
Kid's latte. Cameron presses on, over the melee.
CAMERON
So now all we gotta do is talk to him.
He points to Patrick, who now makes his frog hump another
frog, with full-on sound effects.
MICHAEL
I'll let you handle that.
INT. WOODSHOP - DAY
Boys and a few stray girls nail their pieces of wood
Michael sits next to PEPE, a Coffee Kid, who holds out his
jacket like the men who sell watches in the subway. Inside
several bags of coffee hang from hooks.
PEPE
Some people like the Colombian, but it
all depends on your acidity preference.
Me? I prefer East African and
Indonesian. You start the day with a
Sumatra Boengie or maybe and Ethiopian
Sidamo in your cup, you're that much
farther ahead than someone drinkin'
Cosia Rican or Kona -- you know what I
mean?
Michael nods solemnly.
ACROSS THE ROOM
Patrick sits at a table with Scurvy, making something that
looks like a machete out of a two-by-four.
Cameron approaches, full of good-natured farm boy cheer
CAMERON
Hey, there
In response, Patrick brandishes a loud POWER TOOL in his
direction.
Cameron slinks away.
CAMERON
(continuing)
Later, then.
Michael watches, shaking his head.
INT. CAFETERIA - DAY
Joey and his pals take turns drawing boobs onto a cafeteria
tray with a magic marker.
Michael walks up and sits between them, casual as can be
MICHAEL
Hey.
JOEY
Are you lost?
MICHAEL
Nope - just came by to chat
JOEY
We don't chat.
MICHAEL
Well, actually, I thought I'd run an
idea by you. You know, just to see if
you're interested.
JOEY
We're not.
He grabs Michael by the side of the head, and proceeds to
draw a penis on his cheek with the magic marker. Michael
suffers the indignity and speaks undaunted.
MICHAEL
(grimacing)
Hear me out. You want Bianca don't
you?
Joey sits back and cackles at his drawing.
MICHAEL
(continuing)
But she can't go out with you because
her sister is this insane head case and
no one will go out with her. right?
JOEY
Does this conversation have a purpose?
MICHAEL
So what you need to do is recruit a guy
who'll go out with her. Someone who's
up for the job.
Michael points to Patrick, who makes a disgusted face at his
turkey pot pie before he rises and throws it at the garbage
can, rather than in it.
JOEY
That guy? I heard he ate a live duck once. Everything but
the beak and the feet.
MICHAEL
Exactly
Joey turns to look at Michael.
JOEY
What's in it for you?
MICHAEL
Oh, hey, nothin' man Purely good will
on my part.
He rises to leave and turns to the others.
MICHAEL
(continuing)
I have a dick on my face, don't I?
INT. BOY'S ROOM - DAY
Michael stands at the sink, trying to scrub Joey's artwork
off his face as Cameron watches.
CAMERON
You got him involved?
MICHAEL
Like we had a choice? Besides -- when
you let the enemy think he's
orchestrating the battle, you're in a
position of power. We let him pretend
he's calling the shots, and while he's
busy setting up the plan, you have time
to woo Bianca.
Cameron grins and puts an arm around him
CAMERON
You're one brilliant guy
Michael pulls back, noticing other guys filing in.
MICHAEL
Hey - I appreciate gratitude as much as the next guy, but
it's not gonna do you any good to be known as New Kid Who
Embraces Guys In The Bathroom.
Cameron pulls back and attempts to posture himself in a
manly way for the others, now watching.
INT. KENNY'S THAI FOOD DINER - DAY
Kat and Mandella pick apart their pad thai. Mandella is
smoking.
KAT
So he has this huge raging fit about
Sarah Lawrence and insists that I go to
his male-dominated, puking frat boy,
number one golf team school. I have no
say at all.
MANDELLA
William would never have gone to a
state school.
KAT
William didn't even go to high school
MANDELLA
That's never been proven
KAT
Neither has his heterosexuality.
Mandella replies with a look of ice. Kat uses the moment to
stub out Mandella's cigarette.
KAT
(continuing)
I appreciate your efforts toward a
speedy death, but I'm consuming.
(pointing at her
food)
Do you mind?
MANDELLA
Does it matter?
KAT
If I was Bianca, it would be, "Any
school you want, precious. Don't forget
your tiara."
They both look up as Patrick enters. He walks up to the
counter to place his order.
Mandella leans toward Kat with the glow of fresh gossip
MANDELLA
Janice Parker told me he was a roadie
for Marilyn Manson.
Patrick nods at them as he takes his food outside.
KAT
Janice Parker is an idiot
INT. MISS PERKY'S OFFICE - DAY
Patrick sits before Miss Perky, eating his Thai food
MISS PERKY
(looking at chart)
I don't understand, Patrick. You
haven't done anything asinine this week.
Are you not feeling well?
PATRICK
Touch of the flu.
MISS PERKY
I'm at a loss, then. What should we
talk about? Your year of absence?
He smiles his charming smile
PATRICK
How 'bout your sex life?
She tolerates his comment with her withering glance.
MISS PERKY
Why don't we discuss your driving need
to be a hemorrhoid?
PATRICK
What's to discuss?
MISS PERKY
You weren't abused, you aren't stupid,
and as far as I can tell, you're only
slightly psychotic -- so why is it that
you're such a fuck-up?
PATRICK
Well, you know -- there's the prestige
of the job title... and the benefits
package is pretty good...
The bell RINGS.
MISS PERKY
Fine. Go do something repugnant and
give us something to talk about next
week.
INT. TUTORING ROOM - DAY
Several pairs of tutors and students sit at the various
desks.
Mandella sits with TREVOR, a White Rasta. She attempts to
get him to do geometry, but he stares at her, as if smitten
MANDELLA
Look, it's really easy.
TREVOR
You're a freedom fighter. Be proud,
sister.
Mandella sets down her pencil and closes the book.
MANDELLA
(rotely)
It's Mandella with two L's. I am not
related to Nelson Mandela. I am not a
political figure. I do not live in
South Africa. My parents just spent a
few too many acid trips thinking they
were revolutionaries.
TREVOR
But you freed our people
MANDELLA
Your "people" are white, suburban high
school boys who smoke too much hemp. I
have not freed you, Trevor.
(grabbing his arm
dramatically)
Only you can free yourself.
ACROSS THE ROOM Bianca and Cameron sit side by side, cozy as
can be
BIANCA
C'esc ma tete. This is my head
CAMERON
Right. See? You're ready for the
quiz.
BIANCA
I don't want to know how to say that
though. I want to know useful things.
Like where the good stores are. How
much does champagne cost? Stuff like
Chat. I have never in my life had to
point out my head to someone.
CAMERON
That's because it's such a nice one.
BIANCA
Forget French.
She shuts her book and puts on a seductive smile
BIANCA
(continuing)
How is our little Find the Wench A Date
plan progressing?
CAMERON
Well, there's someone I think might be
--
Bianca's eyes light up
BIANCA
Show me
INT. HALLWAY - DAY
Cameron and Bianca lean against the wall -inconspicuously.
Bianca plays it cool.
BIANCA
Give me a sign when he walks by. And
don't point.
The bell RINGS. Kids flood past. Then Patrick saunters by
with Scurvy. Cameron nudges Bianca.
CAMERON
There.
BIANCA
Where?
Out of desperation, Cameron awkwardly lunges across
Patrick's path. Patrick shoves him back against the wall
without a thought. Cameron lands in a THUD at Bianca's
feet.
CAMERON
I guess he didn't see me
(calling after
Patrick)
Some other time --
Bianca watches Patrick, a wicked gleam in her eye.
BIANCA
My God, he's repulsive. He's so
perfect!
INT. GYM CLASS - DAY
Several volleyball games are being played.
Joey and a member of his hulking entourage, approach
Patrick, who still manages to look cool, even in gym
clothes. They pull him aside roughly.
PATRICK
(shrugging them
off)
What?
Joey points
JOEY See that girl?
Patrick follows his line of vision to Kat as she spikes the
ball into some poor cowboy's face.
PATRICK
Yeah
JOEY
What do you think?
Kat wins the game and high fives the others, who are scared
of her.
PATRICK
Two legs, nice rack...
JOEY
Yeah, whatever. I want you to go out
with her.
PATRICK
Sure, Sparky. I'll get right on it.
JOEY
You just said
PATRICK
You need money to take a girl out
JOEY
But you'd go out with her if you had
the cake?
Patrick stares at Joey deadpan. His dislike for the guy
obvious.
PATRICK
(sarcastic)
Yeah, I'd take her to Europe if I had
the plane.
Joey smiles.
JOEY
You got it, Verona. I pick up the tab,
you do the honors.
PATRICK
You're gonna pay me to take out some
girl?
JOEY
I can't date her sister until that one
gets a boyfriend. And that's the catch.
She doesn't want a boyfriend.
PATRICK
How much?
JOEY
Twenty bucks each time you take her out.
PATRICK
I can't take a girl like that out on
twenty bucks.
JOEY
Fine, thirty.
Patrick raises an eyebrow, urging him up
JOEY
(continuing)
Take it or leave it. This isn't a
negotiation.
PATRICK
Fifty, and you've got your man.
Patrick walks away with a smile
EXT. FIELD HOCKEY FIELD - DAY
Kat and the rest of the team go through a grueling practice
session. Kat spares no one as she whips the ball all over
the field.
Patrick sits on the bleachers nearby, watching. A cigarette
dangles from his mouth. His pal, SCURVY is next to him.
MR. CHAPIN, the coach, blows the WHISTLE.
MR. CHAPIN
(proudly)
Good run, Stratford.
Kat nods in response, and the girls leave the field. Patrick
hops down to follow.
PATRICK
Hey. Girlie.
Kat stops and turns slowly to look at him.
PATRICK
(continuing)
I mean Wo-man. How ya doin'?
KAT
(smiles brightly)
Sweating like a pig, actually. And
yourself?
PATRICK
There's a way to get a guy's attention.
KAT
My mission in life.
She stands there undaunted, hand on hip.
KAT
(continuing)
Obviously, I've struck your fancy. So,
you see, it worked. The world makes
sense again.
Patrick's eyes narrow. He steps closer.
PATRICK
Pick you up Friday, then
KAT
Oh, right. Friday.
PATRICK backs up a little. He uses his most seductive tone
PATRICK
The night I take you to places you've
never been before. And back.
KAT
Like where? The 7-Eleven on Burnside?
Do you even know my name, screwboy?
PATRICK
I know a lot more than that
Kat stares at him.
KAT
Doubtful. Very doubtful.
She walks away quickly, leaving him standing alone.
PATRICK
(calling after her)
You're no bargain either, sweetheart.
Scurvy appears at his side
SCURVY
So I guess the Jeep won't be getting a
new Blaupunkt.
ACROSS THE FIELD Cameron and Michael watch.
MICHAEL
He took the bait.
STRATFORD HOUSE/BATHROOM - NIGHT
Kat washes her face at the sink. Bianca appears behind her,
and attempts to twist Kat's hair into a chignon.
She wacks Bianca away.
BIANCA
Have you ever considered a new look? I
mean, seriously, you could have some
potential buried under all this
hostility.
Kat pushes past her into the hallway.
KAT
I have the potential to smack the crap
out of you if you don't get out of my
way.
BIANCA
Can you at least start wearing a bra?
Kat SLAMS her door in response.
INT. HALLWAY - DAY
Patrick, Scurvy and some other randoms head for the exit
SCURVY You up for a burger?
Patrick looks in his wallet. It's empty.
INT. HALLWAY - DAY
Kat stands at her locker, gathering her books. Patrick
appears at her side, smiling.
PATRICK
Hey
Kat doesn't answer
PATRICK
(continuing)
You hate me don't you?
KAT
I don't really think you warrant that
strong an emotion.
PATRICK
Then say you'll spend Dollar Night at
the track with me.
KAT
And why would I do that?
PATRICK
Come on -- the ponies, the flat beer,
you with money in your eyes, me with my
hand on your ass...
KAT
You -- covered in my vomit.
PATRICK
Seven-thirty?
She slams her locker shut and walks away
EXT. DOWNTOWN STREET - NIGHT
Kat emerges from a music store carrying a bag of CDs in her
teeth, and fumbling through her purse with both hands. She
finds her keys and pulls them out with a triumphant tug.
She looks up and finds Patrick sitting on the hood of her
car
PATRICK
Nice ride. Vintage fenders.
Kat takes the bag out of her mouth.
KAT
Are you following me?
PATRICK
I was in the laundromat. I saw your
car. Thought I'd say hi.
KAT
Hi
She gets in and starts the car.
PATRICK
You're not a big talker, are you?
KAT
Depends on the topic. My fenders don't
really whip me into a verbal frenzy.
She starts to pull out, and is blocked by Joey's Viper,
which pulls up perpendicular to her rear and parks.
Joey and his groupies emerge and head for the liquor store
KAT
(continuing)
Hey -- do you mind?
JOEY
Not at all
They continue on into the store. Kat stares at them in
disbelief...
Then BACKS UP
Her vintage fenders CRASH into the door of Joey's precious
Viper.
Patrick watches with a delighted grin Joey races out of the
liquor store.
JOEY
(continuing)
You fucking bitch!
Kat pulls forward and backs into his car again. Smiling
sweetly.
INT. STRATFORD HOUSE - NIGHT
Walter paces as Kat sits calmly on the couch.
WALTER
My insurance does not cover PMS
KAT
Then tell them I had a seizure.
WALTER
Is this about Sarah Lawrence? You
punishing me?
KAT
I thought you were punishing me.
WALTER
Why can't we agree on this?
KAT
Because you're making decisions for me.
WALTER
As a parent, that's my right
KAT
So what I want doesn't matter?
WALTER
You're eighteen. You don't know what
you want. You won't know until you're
forty-five and you don't have it.
KAT
(emphatic)
I want to go to an East Coast school! I
want you to trust me to make my own
choices. I want --
Walter's BEEPER goes off
WALTER
Christ! I want a night to go by that
I'm not staring a contraction in the
face.
He walks out, leaving Kat stewing on the couch.
INT. HALLWAY - DAY
Patrick shuts his graffiti-encrusted locker, revealing
Joey's angry visage, glowering next to him.
JOEY
When I shell out fifty, I expect
results.
PATRICK
I'm on it
JOEY
Watching the bitch trash my car doesn't
count as a date.
PATRICK
I got her under control. She just acts
crazed in public to keep up the image.
Joey sees through the bluff
JOEY
Let me put it to you this way, if you
don't get any action, I don't get any
action. So get your ass on hers by the
end of the week.
Joey starts to walk off
PATRICK
I just upped my price
JOEY
(turning)
What?
PATRICK
A hundred bucks a date.
JOEY
Forget it.
PATRICK
Forget her sister, then.
Joey thinks for a frustrated moment, PUNCHES the locker,
then peels another fifty out of his wallet with a menacing
scowl.
JOEY
You better hope you're as smooth as you
think you are, Verona.
Patrick takes the money with a smile.
INT. TUTORING ROOM - DAY
Cameron runs a sentence past Bianca.
CAMERON
La copine et I 'ami? La diferance?
Bianca glares at him.
BIANCA
A "copine" is someone you can count on.
An "ami" is someone who makes promises
he can't keep.
Cameron closes the French book
CAMERON
You got something on your mind?
BIANCA
I counted on you to help my cause. You
and that thug are obviously failing.
Aren't we ever going on our date?
He melts
CAMERON
You have my word. As a gentleman
BIANCA
You're sweet.
She touches his hand. He blushes at her praise and watches
her toss her hair back
CAMERON
(appreciative)
How do you get your hair to look like
that?
BIANCA
Eber's Deep Conditioner every two days.
And I never, ever use a blowdryer
without the diffuser attachment.
Cameron nods with interest.
CAMERON
You know, I read an article about that.
Bianca looks surprised.
BIANCA
You did?
INT. BOY'S ROOM - DAY
Patrick stands at the sink, washing his hands Michael and
Cameron cower in the corner, watching him.
PATRICK
(without turning
around)
Say it
MICHAEL
(clearing his
throat)
What?
PATRICK
Whatever the hell it is you're standin'
there waitin' to say.
Cameron bravely steps forward
CAMERON
We wanted to talk to you about the
plan.
Patrick turns toward them.
PATRICK
What plan?
MICHAEL
The situation is, my man Cameron here
has a major jones for Bianca Stratford.
PATRICK
What is it with this chick? She have
three tits?
Cameron starts to object, but Michael holds up a hand.
MICHAEL
I think I speak correctly when I say
that Cameron's love is pure. Purer than
say -- Joey Dorsey's.
PATRICK
Dorsey can plow whoever he wants. I'm
just in this for the cash.
Cameron starts choking at the thought of Joey plowing his
beloved Bianca.
MICHAEL
That's where we can help you. With
Kat.
PATRICK
So Dorsey can get the girl?
MICHAEL
Patrick, Pat, you're not looking at the
big picture. Joey's just a pawn. We set
this whole thing up so Cameron can get
the girl.
Patrick smiles. He likes the idea of Joey being a pawn in
this game.
PATRICK
You two are gonna help me tame the wild
beast?
MICHAEL
(grinning)
We're your guys.
CAMERON
And he means that strictly in a non-
prison-movie type of way.
PATRICK
Yeah -- we'll see.
He swings the door open and exits, leaving Michael and
Cameron grinning at each other.
MICHAEL
We're in.
INT. CLASSROOM - DAY
CU on a party invitation as it gets handed out. "Future
Princeton Grad Bogey Lowenstein proudly presents a Saturday
night bash at his abode. Casual attire".
Michael holds the invitation up to Cameron.
CAMERON
This is it. A golden opportunity.
Patrick can ask Katarina to the party.
MICHAEL
In that case, we'll need to make it a
school-wide blow out.
CAMERON
Will Bogey get bent?
MICHAEL
Are you kidding? He'll piss himself
with joy. He's the ultimate kiss ass.
CAFETERIA - DAY
Michael hands a jock the party invite as they pass each
other at the trash cans.
INT. GYM CLASS - DAY
The jock calls a fellow jock
INT. MATH CLASS - DAY
Jock whispers to a cheerleader
COURTYARD - DAY
The cheerleader calls a White Rasta that she's making out
with, showing him the invite.
TRACK - DAY
The White Rasta tells a cowboy as they run laps during track
practice.
INT. SHOWERS - DAY
The cowboy Cells a Coffee Kid, as he shields his java from
the spray of the shower.
INT. HALLWAY - DAY
Joey stands ac his open locker with Bianca. The locker is
an homage to Joey's "modeling" career. Cheesy PRINT ADS of
him -- running in a field of daisies, petting a kitten, etc.
-- adorn the locker door.
JOEY
Which do you like better?
INSERT - HEADSHOTS of Joey. In one, he's pouting in a white
shirt. In the other, he's pouting in a black shirt.
BIANCA
I think I like the white shirt
Joey nods thoughtfully.
JOEY
It's more
BIANCA
Expensive?
JOEY
Exactly
(beat)
So, you going to Bogey Lowenbrau's
thing on Saturday?
BIANCA
Hopefully.
He gives her his best flirtatious smile
JOEY
Good, 'cause I'm not gonna bother if
you won't be there.
He taps her on the nose and she giggles
INT. TUTORING ROOM
Bianca sits across from Cameron, who's transfixed, as always
BIANCA
Have you heard about Bogey Lowenstein's
party?
CAMERON
Sure have.
BIANCA
(pouting)
I really, really, really wanna go, but
I can't. Not unless my sister goes.
CAMERON
I'm workin' on it. But she doesn't seem
to be goin' for him.
He fishes.
CAMERON
(continuing)
She's not a...
BIANCA
Lesbian? No. I found a picture of
Jared Leto in one of her drawers, so I'm
pretty sure she's not harboring same-sex
tendencies.
CAMERON
So that's the kind of guy she likes?
Pretty ones?
BIANCA
Who knows? All I've ever heard her say
is that she'd dip before dating a guy
that smokes.
Cameron furiously takes notes
CAMERON
All right. What else is she partial
to?
INT. DIVE BAR - NIGHT
Patrick plays pool with some random deviant cronies.
He looks up when he hears a COMMOTION at the door. LOU the
bouncer is in the midst of throwing Michael and Cameron out.
PATRICK
Lou, it's okay. They're with me.
Lou looks at Patrick, surprised, then reluctantly lets our
two non-deviants pass through.
Patrick guides them to a table and sips from a beer.
PATRICK
(continuing)
What've you got for me?
CAMERON
I've retrieved certain pieces of
information on Miss Katarina Stratford I
think you'll find helpful.
Cameron pulls out a piece of paper.
MICHAEL
(to Patrick)
One question before we start -- should you be drinking
alcohol when you don't have a liver?
PATRICK
What?!
MICHAEL
Good enough.
Cameron looks up at Patrick.
CAMERON
Number one. She hates smokers
MICHAEL
It's a lung cancer issue
CAMERON
Her favorite uncle
MICHAEL
Dead at forty-one.
Patrick sits up
PATRICK
Are you telling me I'm a -
(spits the word
out)
"non-smoker"?
MICHAEL
Just for now.
CAMERON
Another thing. Bianca said that Kat
likes -- pretty guys.
This is met with silence. Then:
PATRICK
What? You don't think I'm pretty?
Michael smacks Cameron
MICHAEL
He's pretty!
CAMERON
Okay! I wasn't sure
Cameron goes back to the list.
CAMERON
(continuing)
Okay -- Likes: Thai food, feminist
prose, and "angry, stinky girl music of
the indie-rock persuasion".
PATRICK
So what does that give me? I'm
supposed to buy her some noodles and a
book and sit around listening to chicks
who can't play their instruments?
MICHAEL
Ever been to Club Skunk?
PATRICK
Yeah.
CAMERON
Gigglepuss is playing there tomorrow
night.
PATRICK
Don't make me do it, man
MICHAEL
Assail your ears for one night.
CAMERON
It's her favorite band.
Patrick groans
MICHAEL
I also retrieved a list of her most
recent CD purchases, courtesy of
American Express.
He hands it over.
PATRICK
(smiling)
Michael -- did you get this information
"illegally"?
Michael puts a finger to his lips.
MICHAEL
I prefer to think of it simply as an
alternative to what the law allows.
PATRICK
I'm likin' you guys better
He looks down at the list of CDs.
PATRICK
(continuing)
This is really music?
INT. KAT'S ROOM - NIGHT
MUSIC BLARES in a room with minimalist decor splashed with
indie rock band posters and flyers.
Kat and Mandella dance as they dress and apply make-up
Bianca enters, interrupting their fun.
BIANCA
Can you turn down the Screaming
Menstrual Bitches? I'm trying to study.
Kat doesn't move, so Bianca crosses to the stereo, turning
down the volume.
BIANCA
(continuing)
Don't tell me you're actually going
out? On a school night, no less.
Kat shoots her a glare
BIANCA
(continuing;
excited)
Oh my God, does this mean you're
becoming normal?
KAT
It means that Gigglepuss is playing at
Club Skunk and we're going.
BIANCA
(disappointed)
Oh, I thought you might have a date
(beat)
I don't know why I'm bothering to ask,
but are you going to Bogey Lowenstein's
party Saturday night?
KAT
What do you think?
BIANCA
I think you're a freak. I think you do
this to torture me. And I think you
suck.
She smiles sweetly and shuts the door behind her. Kat
doesn't bat an eye. She grabs her purse and opens the door
KAT
Let's hit it.
EXT. CLUB SKUNK - NIGHT
A happy black and white neon skunk sprays fine mist on the
line of kids below.
INT. CLUB FOYER - NIGHT
Kat and Mandella walk in, Mandella nervously pulling out her
fake ID. The giant, afroed bouncer, BRUCE, looks typically
mono-syllabic.
MANDELLA
(whispering to Kat)
You think this'll work?
KAT
No fear.
They approach Bruce. Kat puts on her happy, shiny face
KAT
(continuing)
Hello! We'd like two for Gigglepuss!
Bruce looks the girls up and down.
BRUCE
I can count.
He looks at their IDs. Mandella gently moves Kat aside,
wearing a face that could only be described as "I AM a
Victoria's Secret model."
MANDELLA
I'll bet you can..
She sticks out her chest and licks her lips. Bruce stares
at her deadpan and hands her back the IDs.
BRUCE
Go ahead.
(to Mandella)
And you
MANDELLA
(all come hither)
Yes?
BRUCE
Take it easy on the guys in there.
Mandella winks at him and sashays inside Kat: follows
behind, shaking her head.
EXT. CLUB SKUNK - NIGHT
Patrick's mail truck clatters to a stop out front.
INT. CLUB FOYER - NIGHT
Patrick walks up to Bruce, who's frisking a badly mowhawked
PIERCED EYEBROW BOY. Bruce pulls a SWITCHBLADE out of the
boy's inside pocket.
BRUCE
Next time, leave the Bic at home,
Skippy.
SKIPPY
It's a bottle opener.
Bruce pushes him inside the club, then sees Patrick.
BRUCE
Verona, my man.
They shake.
PATRICK
Always a pleasure, Brucie.
BRUCE
Didn't have you pegged for a Gigglepuss
fan. Aren't they a little too pre-teen
belly-button ring for you?
PATRICK
Fan of a fan. You see a couple of
minors come in?
BRUCE
Never
PATRICK
Padua girls. One tall, decent body.
The other one kinda short and
undersexed?
BRUCE
Just sent 'em through.
Patrick starts to go in
BRUCE
(continuing)
Hey -- what happened to that chick you
brought last time? The one with the
snake?
Patrick laughs and goes into the club
INT. CLUB - NIGHT
Onstage, the all-female band GIGGLEPUSS is parlaying their
bad girl sass into a ripping punk number.
Near the stage is a joyful mass of pogo-ing teens AT THE BAR
Patrick bellies up and looks around the club. Gigglepuss
finishes a song.
LEAD SINGER
Hello, out there. We're Gigglepuss and
we're from Olympia.
A teenage boy in the audience takes the opportunity to
scream.
BOY (0.S.)
Pet my kitty!
LEAD SINGER
Meow
They rev into their next song.
NEAR THE STAGE
Mandella and Kat glow with sweat. When they hear the
opening chords of the song, they look at each other and
scream with glee as they begin to dance. They couldn't be
having a better time.
AT THE BAR
Patrick signals to get the bartender's attention and looks
across the bouncing surge of the crowd. He spots Kat and
Mandella singing along.
HIS POV
The gleeful Kat -- dancing and looking completely at ease.
None of her usual "attitude". Patrick is transfixed. And
most definitely attracted.
NEAR THE STAGE Kat looks at Mandella.
KAT
(shouting)
I need agua!
She makes her way through the crowd to the bar. AT THE BAR
She made it. She signals for the bartender and as she's
waiting, looks around. She spots Patrick a few feet away
KAT
(continuing to
herself)
Shit
She sneaks a glance. He's staring, but this time he looks
away before she can. Despite herself, she's miffed.
The bartender arrives
BARTENDER
(shouting)
What can I get you?
KAT
Two waters.
She looks at Patrick again. He's completely absorbed in the
band. She scowls. The bottled water arrives and she
marches off, forgetting to pay.
She walks up to Patrick.
KAT
(continuing)
You're not fooling anyone.
Patrick looks at her, surprised
PATRICK
(yelling)
hey. Great show, huh?
KAT
(yelling)
If you're planning on asking me out you might as well get it
over with.
PATRICK
(yelling)
Excuse me?
KAT
(yelling)
That's what you want, isn't it?
PATRICK
(yelling; gesturing
toward the band)
Do you mind? You're sort of ruining it
for me.
Kat steams. And watches him watch the band
KAT
(yelling)
You're not surrounded by your usual
cloud of smoke.
The band takes a break, so they can stop yelling now
PATRICK
I know. I quit.
He leans back, making no attempt to hit on her. She moves
closer.
KAT
Oh, really?
He motions toward the stage
PATRICK
You know, these guys are no Bikini Kill
or The Raincoats, but they're right up
there.
KAT
You know who The Raincoats are?
PATRICK
Why, don't you?
She's completely taken aback. He uses the moment to his
advantage and brushes her hair back as he speaks right into
her ear.
PATRICK
(continuing)
I watched you out there I've never
seen you look like that
Kat steps away, brushing the hair back that he just touched
Her cheeks pinken.
His cocky side is back in a flash
PATRICK
(continuing)
Come to that party with me.
At that moment, the band starts another SONG
KAT
(yelling)
What?
The bartender approaches.
BARTENDER
(to Kat, yelling)
You forgot to pay!
PATRICK
(yelling)
I got it, Rick.
He tosses some bills on the bar
Rather than thank him, Kat simply watches him, trying to
figure out his motive.
PATRICK
(continuing;
yelling)
Nine-thirty then.
A few people have gotten between them at the bar and she
can't hear a word he's saying. She gives him one last look
and heads back into the crowd.
Patrick smiles. She didn't say no this time.
EXT. CLUB SKUNK - NIGHT
The crowd files out of the club, Kat and Mandella amongst
them. A^ they're walking toward the parking lot, Patrick
coasts by in his truck. The gears GRIND. He yells out the
window.
MANDELLA
What'd he say?
KAT
Who cares?
Mandella watches Kat as she stares after Patrick
MANDELLA
Has he importun'd you with love in
honourable fashion?
Kat glances sharply at her.
MANDELLA
(continuing; off
her look)
Don't be Cruella with me. I'm in favor
of romance. You're the one that wants
to march on Washington every five
minutes.
Kat pokes her, then looks back at the club dreamily.
KAT
Gigglepuss was so beyond.
Mandella nods.
MANDELLA
They were. I only wish William could
have been here to witness the rebirth of
punk rock with us.
Kat links her arm through Mandella's and they head for the
car.
KAT
So true.
INT. HALLWAY - DAY
Cameron and Michael are at Michael's locker.
CAMERON
So, then she says that she almost
didn't wear the Kenneth Coles with that
dress because she thought she was
mixing, you know, genres. And the fact
that I noticed -- and I'm quoting here -
"really meant something."
Cameron looks At Michael expectantly
MICHAEL
You told me that part already.
CAMERON
Hell, I've just been going over the
whole thing in my head and -
Joey appears over Cameron's shoulder.
JOEY
Hey. Dingo Boingo
Cameron and Michael look at each other And turn around
slowly
JOEY
(continuing; to
Michael)
I hear you're helpin' Verona.
MICHAEL
Uh, yeah. We're old friend*
JOEY
You and Verona?
MICHAEL
What? We took bathes together when we
were kids.
It's incredibly obvious that he's lying. Joey eyes him then
turns to Cameron.
JOEY
What's your gig in all this?
CAMERON
I'm just the new guy.
Joey turns back to Michael, grabbing the alligator on his
shirt and twisting it.
JOEY
You better not fuck this up. I'm
heavily invested.
MICHAEL
Hey -- it's all for the higher good
right?
Joey lets go of Michael and SHOVES Cameron against a locker
for good measure, as he walks away-
CAMERON
Is it about me?
EXT. MISS PERKY'S OFFICE - DAY
Kat sits outside waiting for her appointment, bored and
annoyed.
The door opens and Miss Perky escorts Patrick out
MISS PERKY
You're completely demented.
PATRICK
(cheery)
See you next week!
Kat stands and Patrick sees her.
Miss Perky watches in horror
MISS PERKY
You two know each other?
PATRICK/KAT
Yeah/No.
Miss Perky grabs Kat and shoves her into her office.
MISS PERKY
(to Patrick)
Dear God, stay away from her. If you
two ever decided to breed, evil would
truly walk the earth.
Patrick gives Kat one last look before the door shuts, then
smiles-
EXT. STRATFORD HOUSE - NIGHT
The lights are on, illuminating the yard
INT. STRATFORD HOUSE/UPSTAIRS HALLWAY - NIGHT
Bianca and Chastity stand outside Kat's room. MUSIC is
blaring and the door is shut. Bianca looks at her watch
BIANCA
She's obviously not going.
INT. LIVING ROOM - NIGHT
Across the carpet, two pairs of teenage girl feet sneak
past. Bianca and Chastity, teddy bear purses in hand.
FROM THE KITCHEN A RUSTLING is heard. The girls freeze.
Walter emerges from the kitchen with a mile-high sandwich
The girls are like statues. Walter jumps.
BIANCA
Daddy, I --
WALTER
And where're you going?
BIANCA
If you must know, we were attempting to
go to a small study group of friends.
WALTER
Otherwise known as an orgy?
BIANCA
It's just a party. Daddy, but I knew
you'd forbid me to go since "Gloria
Steinem" over there isn't going --
She points to Kat -- Walkman blaring -- who comes
downstairs, wearing a baby tee and battered Levis. Her
relaxing-at-home look is about 400 times sexier than her at-
school look. She wanders toward the kitchen.
Walter directs his attention toward Kat.
WALTER
Do you know about any party? Katarina?
Kat shrugs as she comes back out of the kitchen with an
apple
BIANCA
Daddy, people expect me to be there!
WALTER
If Kat's not going, you're not going.
Bianca turns to Kat, eyes ablaze
BIANCA
You're ruining my life' Because you
won't be normal, I can't be normal.
KAT
What's normal?
BIANCA
Bogey Lowenstein's party is normal, but
you're too busy listening to Bitches Who
Need Prozac to know that.
WALTER
What's a Bogey Lowenstein?
Kat takes off her earphones, ready to do battle
BIANCA
Can't you forget for just one night
that you're completely wretched?
KAT
At least I'm not a clouted fen- sucked
hedge-pig.
Bianca tosses her hair.
BIANCA
Like I'm supposed to know what that
even means.
KAT
It's Shakespeare. Maybe you've heard
of him?
BIANCA
Yeah, he's your freak friend Mandella's
boyfriend. I guess since I'm not
allowed to go out, I should obsess over
a dead guy, too.
WALTER
Girls
Kat stares Bianca down
KAT
I know about the goddamn party. I'm
going.
Bianca and Chastity look at each other, thrilled, and burst
into gleeful screams.
A startled Walter clutches Bianca in a protective hug.
WALTER
Oh, God. It's starting.
BIANCA
It's just a party. Daddy.
Walter looks dazed.
WALTER
Wear the belly before you go.
BIANCA
Daddy, no!
WALTER
Just for a minute
He rushes to a cupboard and pulls out a padded faux-
pregnancy belly.
WALTER
(continuing)
I want you to realize the weight of
your decisions.
He hangs the belly on her as she stands mortified.
BIANCA
You are so completely unbalanced.
KAT
Can we go now?
Scanned by http://freemoviescripts.com
Formatting by http://simplyscripts.home.att.net
WALTER
(to Bianca)
Promise me you won't talk to any boys
unless your sister is present.
BIANCA
Why?
WALTER
Because she'll scare them away.
Kat stomps to the door, grabbing her car keys off the hall
table and a sweater from the coat rack. She flings open the
door and...
There stands Patrick.
PATRICK
Nine-thirty right?
Kat's in shock
PATRICK
(continuing)
I'm early.
She holds up her keys
KAT
I'm driving.
He peeks in behind her.
PATRICK
Who knocked up your sister?
INT. BOGEY LOWENSTEIN'S HOUSE - NIGHT
BOGEY, a short Future MBA in a tux, greets his guests like a
pro, handing out cigars and martinis.
BOGEY
Nice to see you. Martini bar to the
right, shots in the kitchen.
The house is filled to capacity with Padua High's finest Kat
pushes through the crowd. Patrick saunters in behind her
INT. BOGEY'S KITCHEN - NIGHT
Joey lines up a row of shots amid much whooping and
hollering within the jock crowd.
Kat enters, then quickly tries to make an about face. Joey
sees her and rushes over to block her, standing in the
doorway.
JOEY
Lookin' fresh tonight, Pussy-Kat
Kat gives him a death look and then stops and points at his
forehead.
KAT
Wait -- was that?-- Did your hairline
just recede?
He panics, whipping out a handy pocket mirror She's
already walking away.
JOEY
Where ya goin?
KAT
Away.
JOEY
Your sister here?
Kat's face shows utter hatred
KAT
Leave my sister alone.
JOEY
(smirking)
And why would I do that?
A RUCKUS sounds from the next room
JOCK
A fight!
The other jocks rush to watch as two Coffee Kids splash
their cupfuls on each other.
COFFEE KID #1
That was a New Guinea Peaberry, you
Folger's-crystals-slurping-buttwipe.
Caffeinated fists fly. Joey slithers away from the door to
watch, giving Kat one last smirk, just as Bianca walks into
the kitchen.
JOEY
Just who I was looking for.
He puts his arm around Bianca and escorts her out
KAT
BIANCA
Bianca keeps walking, ignoring Kat
A GUY pouring shots hands Kat one She downs it and accepts
another.
GUY
Drink up, sister.
Patrick walks up
PATRICK
What's this?
KAT
(mocking)
"I'm getting trashed, man." Isn't that
what you're supposed to do at a party?
PATRICK
I say, do what you wanna do.
KAT
Funny, you're the only one
She downs another.
INT. BOGEY'S LIVING ROOM - NIGHT
Cameron and Michael enter. Cameron looks, around for his
beloved, while Michael schmoozee with all in attendance and
dishes dirt simultaneously.
MICHAEL
(high-fiving a
jock)
Moose, my man!
(to Cameron)
Ranked fifth in the state. Recruiters
have already started calling.
Cameron nods intently
MICHAEL
(continuing;
grabbing his belt)
Yo, Clem.
(to Cameron)
A Patsy Cline fan, but hates the new
Leanne Rimes.
(with a Jamaican
swagger)
Ziggy, peace, bra.
(to Cameron)
Prefers a water pipe, but has been
known to use a bong.
Michael spots Bianca and Chastity, watching the skirmish,
and points Cameron's body in her direction.
MICHAEL
(continuing)
Follow the love, man
ON BIANCA AND CHASTITY Bianca cranes her neck
BIANCA
Where did he go? He was just here.
CHASTITY
Who?
BIANCA
Joey.
Cameron walks over.
CAMERON
Evening, ladies.
Bianca turns and graces him with a pained smile.
BIANCA
Hi.
CAMERON
Looks like things worked out tonight,
huh?
Bianca ignores the question and tries to pawn him off
BIANCA
You know Chastity?
CAMERON
I believe we share an art instructor
CHASTITY
Great
BIANCA
Would you mind getting me a drink,
Cameron?
CAMERON
Certainly
Pabst? Old Milwaukee? RaiJieer?
Bianca gives him a tense smile.
BIANCA
Surprise me.
He heads for the kitchen. Joey walks up and grabs her
around the waist.
She giggles as he picks her up and carries her off -- just
as Cameron returns, a beer -- complete with a napkin and
straw -- in his hand.
Chastity glares with a jealous fury after Bianca and Joey,
then gives Cameron the once-over and walks away.
Michael appears.
MICHAEL
Extremely unfortunate maneuver.
CAMERON
The hell is that? What kind of 'guy
just picks up a girl and carries her
away while you're talking to her?
MICHAEL
Buttholus extremus. But hey, you're
making progress.
CAMERON
No, I ' m not.
He smacks himself in the head
CAMERON
(continuing)
She used me! She wants to go out with
Dorsey. Not me. I'm an idiot!
Michael pats him on the shoulder.
MICHAEL
At least you're self-aware
BOGEY'S KITCHEN - NIGHT
Kat and a crowd of White Rastas and Cowboys stand in a
drunken group hug singing "I Shot the Sheriff". Kat has
another shot glass in hand.
Patrick is showing a scar to an inebriated, enraptured
cheerleader. He looks up at Kat and smiles meets his eyes
then looks away.
INT. BOGEY'S LIVING ROOM - NIGHT
Bianca stands next to Joey, sipping from her beer
JOEY
So yeah, I've got the Sears catalog
thing going -- and the tube sock gig "
that's gonna be huge. And then I'm up
for an ad for Queen Harry next week.
BIANCA
Queen Harry?
JOEY
It's a gay cruise line, but I'll be,
like, wearing a uniform and stuff.
Bianca tries to appear impressed, but it's getting
difficult.
BIANCA
Neat...
JOEY
My agent says I've got a good shot at
being the Prada guy next year.
He looks over her shoulder and waves at someone. Bianca
takes the opportunity to escape.
BIANCA
I'll be right back.
INT. BOGEY'S BATHROOM - NIGHT
Bianca shuts the door and leans on it with a sigh. Chastity
applies lip-gloss in the mirror.
BIANCA
He practically proposed when he found
out we had the same dermatologist. I
mean. Dr. Bonchowski is great an all,
but he's not exactly relevant party
conversation.
CHASTITY
Is he oily or dry?
BIANCA
Combination. I don't know -- I thought
he'd be different. More of a
gentleman...
Chastity rolls her eyes
CHASTITY
Bianca, I don't think the highlights of
dating Joey Dorsey are going to include
door-opening and coat-holding.
BIANCA
Sometimes I wonder if the guys we're
supposed to want to go out with are the
ones we actually want to go out with,
you know?
CHASTITY
All I know is -- I'd give up my private
line to go out with a guy like Joey.
There's a KNOCK at the door. Bianca opens it to find a very
drunken Kat.
KAT
Bianca, I need to talk to you -- I need
to tell you --
BIANCA
(cutting her off)
I really don't think I need any social
advice from you right now.
Bianca grabs Chastity's arm and they exit
INT. BOGEY'S KITCHEN - NIGHT - LATER
Patrick tries to remove a shot glass from Kat's hand.
PATRICK
Maybe you should let me have it.
Kat is fierce in her refusal to let go
KAT
I want another one
Joey enters, grabbing Patrick by the shoulder, distracting
him from his task.
JOEY
My man
As Patrick turns, Kat breaks free and dives into the sea of
dancing people in the dining room.
PATRICK
(annoyed)
It's about time.
JOEY
A deal's a deal.
He peels off some bills
JOEY
(continuing)
How'd you do it?
PATRICK
Do what?
JOEY
Get her to act like a human
A very drunken Kat jumps up onto the kitchen island and
starts dancing by herself. She lets loose, hair flying.
She's almost burlesque.
Others form a crowd, clapping and cheering her on
She swings her head around BANGING it on a copper pot
hanging from the rack above the center island. She starts
to sway, then goes down as Patrick rushes over to catch her.
The others CLAP, thinking this is a wonderful finale.
Patrick sets her down on her feet, holding her up
PATRICK
Okay?
KAT
I'm fine. I'm
She tries to push him away, but staggers when she does grabs
her again, bracing her.
PATRICK
You're not okay.
KAT
I just need to lie down for awhile
PATRICK
Uh, uh. You lie down and you'll go to
sleep
KAT
I know, just let me sleep
PATRICK
What if you have a concussion? My dog
went to sleep with a concussion and woke
up a vegetable. Not that I could tell
the difference...
She tries to sit on the floor
KAT
Okay, I'll just sleep but stay awake,
okay?
He pulls her back to her
PATRICK
C'mon, let's walk
INT. BOGEY'S DINING ROOM - NIGHT
As Patrick walks Kat through the dining room, Cameron grabs
his arm.
CAMERON We need to talk.
PATRICK
Cameron, I'm a little busy
CAMERON
It's off. The whole thing.
Kat slides down to the floor and Patrick struggles to get h
back on her feet.
PATRICK
What 're you talking about?
CAMERON
She's partial to Joey, not me
Patrick doesn't have time for this.
PATRICK
Cameron -- do you like the girl?
CAMERON
Sure
PATRICK
(impatient)
Then, go get her
Patrick continues walking an oblivious Kat outside. Cameron
stands there, unsure how to make use of this advice
EXT. BOGEY LOWENSTEIN'S HOUSE - NIGHT
Patrick marches Kat around the yard, holding her up
KAT
This is so patronizing.
PATRICK
Leave it to you to use big words when
you're shitfaced.
KAT
Why 're you doing this?
PATRICK
I told you
KAT
You don't care if I die
PATRICK
Sure, I do
KAT
Why?
PATRICK
Because then I'd have to start taking
out girls who like me.
KAT
Like you could find one
PATRICK
See that? Who needs affection when
I've got blind hatred?
KAT
Just let me sit down.
He walks her over to the swingset and plops her down in a
swing, moving her hands to hang onto the chains.
PATRICK
How's that?
She sits and looks at him for a moment with a smile. Then
FALLS over backward.
PATRICK
(continuing)
Jesus. You're like a weeble
Patrick rushes to right her, then starts pushing her on the
swing to keep her entertained.
PATRICK
(continuing)
Why'd you let him get to you?
KAT
Who?
PATRICK
Dorsey.
KAT
I hate him.
PATRICK
I know. It'd have to be a pretty big
deal to get you to mainline tequila. You
don't seem like the type.
KAT
(holding up a
drunken head)
Hey man. . . You don ' t think I can
be "cool"? You don't think I can be
"laid back" like everyone else?
PATRICK
(slightly
sarcastic)
I thought you were above all that
KAT
You know what they say
He stops the swing
PATRICK
No. What do they say?
Kat is asleep, her head resting against the swing's chains.
PATRICK
(continuing)
Shit!
He drags her to her feet and starts singing loudly.
PATRICK
(continuing)
Jingle Bells! Jingle Belles! Wake up
damn it!
He sits her down on the slide and shakes her like a rag
doll.
PATRICK
(continuing)
Kat! Wake up!
KAT
(waking)
What?
He sighs with relief.
PATRICK
I thought you were...
They share some meaningful eye contact. And then she PUKES
on his shoes.
INT. BOGEY'S BATHROOM - NIGHT
Kat washes her face and grabs a bottle of Scope, taking a
big swig.
A KNOCK sounds at the door
KAT
Go away
Bianca opens the door and looks at her sister with the
smuggest of all possible grins.
BIANCA
Dinner taste better on the way out?
Gives her a "don't even start" look.
BIANCA
(continuing)
I don't get you. You act like you're
too good for any of this, and then you
go totally apeshit when you get here.
KAT
You're welcome.
She pushes past her and leaves the bathroom.
KAT'S CAR - NIGHT
Kat's in the driver's seat. Patrick leans in and takes the
keys out of the ignition.
PATRICK
Cute
BOGEY LOWENSTEIN'S HOUSE - NIGHT
Kids loiter on the lawn. Bianca and Chastity walk outside
Joey catches up to them.
JOEY
A bunch of us are going to Jaret's
house. Wanna come?
Chastity looks at Bianca, who wears a pained expression.
She looks at her watch.
BIANCA
I have to be home in twenty minutes.
CHASTITY
(eagerly, to Joey)
I don't have to be home 'til two.
JOEY
Then, c'mon.
(to Bianca)
Maybe next time --
They head back into the party, leaving an astonished Bianca
Cameron exits the party and stops when he sees Bianca
standing alone.
CAMERON
(slightly
accusatory)
Have fun tonight?
BIANCA
Tons
He starts to walk on
BIANCA
(continuing)
Cameron?
He stops. She gives him a helpless smile.
BIANCA
(continuing)
Do you think you could give me a ride
home?
INT. KAT'S CAR - NIGHT
Patrick drives as Kat sits in the passenger seat, fiddling
with the radio dial. She finds a SONG she's happy with and
Patrick quickly changes it.
PATRICK
I'm driving, so I get to pick the
tunes.
She changes it back to her song.
KAT
It's my car.
He changes it back.
PATRICK
And I'm in control of it.
KAT
But it's Gigglepuss - I know you like
them. I saw you there.
Patrick doesn't have an answer for this, so he let's her
listen to her song.
KAT
(continuing)
When you were gone last year -- where
were you?
PATRICK
Busy
KAT
Were you in jail?
PATRICK
Maybe.
KAT
No, you weren't
PATRICK
Then why'd you ask?
KAT
Why'd you lie?
He doesn't answer, but instead, frowns and turns up the
music. She bobs her head drunkenly.
KAT
(continuing)
I should do this.
PATRICK
Do what?
KAT
This.
She points to the radio
PATRICK
Start a band?
KAT
(sarcastically)
My father wouldn't approve of that that
PATRICK
You don't strike me as the type that
would ask permission.
She turns to look at him.
KAT
Oh, so now you think you know me?
PATRICK
I'm gettin' there
Her voice loses it's venom
KAT
The only thing people know about me is
that I'm "scary".
He turns to look at her -- she looks anything but scary
right now. He tries to hide his smile.
PATRICK
Yeah -- well, I'm no picnic myself.
They eye each other, sharing a moment of connection,
realizing they're both created the same exterior for
themselves.
Patrick pulls into her driveway and shuts off the motor. He
looks up at her house.
PATRICK
(continuing)
So what ' s up with your dad? He a
pain in the ass?
KAT
He just wants me to be someone I'm not.
PATRICK
Who?
KAT
BIANCA
PATRICK
No offense, but you're sister is
without. I know everyone likes her and
all, but ...
Kat stares at him with new admiration.
KAT
You know -- you're not as vile as I
thought you were.
She leans drunkenly toward him.
Their faces grow closer as if they're about to kiss And then
Patrick turns away
PATRICK
So, I'll see you in school
Kat stares at him, pissed. Then gets out of the car,
SLAMMING the door shut behind her.
CAMERON'S CAR - NIGHT
Bianca and Cameron ride in silence.
He finally breaks it.
CAMERON
I looked for you back at the party, but
you always seemed to be "occupied".
BIANCA
(faux-innocence )
I was?
CAMERON
You never wanted to go out with 'me,
did you?
Bianca bites her lip.
BIANCA
(reluctant)
Well, no...
CAMERON
Then that's all you had to say.
BIANCA
But
CAMERON
You always been this selfish?
BIANCA thinks a minute
He pulls up in front of the house
CAMERON
Just because you're beautiful, doesn't
mean you can treat people like they
don't matter.
She looks at him for a moment -- then grabs his face and
gives him a kiss on the lips. He draws back in surprise,
then kisses her back. She smiles, then gets out of the car
without another word.
Cameron grins and drives away
CAMERON
(continuing)
And I'm back in the saddle.
INT. ENGLISH CLASS - DAY
Kat sits at her desk, burying her face in a book as the
others enter. The White Rastas are first.
DEREK
Kat, my lady, you sway to the rhythm of
my heart.
He grabs her hand and kisses it as she pulls it away.
CLEM, a cowboy, enters, high-fiving Derek with new-found
friendliness.
CLEM
Yippe kai-aye, bra.
(to Kat)
Dance for me, cowgirl.
He sits next to Derek
CLEM
(continuing)
Okay, now tell me again why he didn't
shoot the deputy?
DEREK
Because the deputy meant him no harm,
my friend. It was only the sheriff that
was the oppressor.
Joey saunters in and takes his seat.
JOEY
Kat, babe, you were on fire.
Mrs. Blaise enters and sits at her desk
MRS. BLAISE
Well now, did everyone have a good
weekend?
JOEY
Maybe we should ask Verona
Patrick enters, late, and slinks to his desk. Kat looks up,
down and around, everywhere but at Patrick.
Mrs. Blaise tries to remember what she's supposed to talk
about.
MRS. BLAISE
Okay then. Well.
(beat)
Oh, yes
She clears her throat.
MRS. BLAISE
(continuing)
I'd like you all to write your own
version of Shakespeare's Sonnet #141.
Groans.
MRS. BLAISE
(continuing)
Any form you'd like. Rhyme, no rhyme,
whatever. I'd like to see you elaborate
on his theme, however. Let's read it
aloud, shall we? Anyone?
The class is frozen in apathy.
MRS. BLAISE
(continuing)
Derek?
Ms. Blaise hands him the sonnet. He shifts uncomfortably in
his seat. Then grins.
DEREK
(reading; in his
Rasta stoner drawl)
In faith, I do not love thee with mine
eyes/ For they in thee a thousand errors
note/ But 'tis my heart that loves what
they despise/ Who in despite of view is
pleas 'd to dote.
In the back of the room Clem raises his hand
CLEM
Ms. Blaise, can I get the bathroom
pass? Damn if Shakespeare don't act as
a laxative on my person.
INT. KENNY'S THAI FOOD DINER - DAY
Kat and Mandella scrape the peanuts out of their sauce.
MANDELLA
You went to the party? I thought we
were officially opposed to suburban
social activity.
KAT
I didn't have a choice.
MANDELLA
You didn't have a choice? Where's Kat
and what have you done with her?
KAT
I did Bianca a favor and it backfired.
MANDELLA
You didn't
KAT
I got drunk. I puked. I got rejected.
It was big fun.
Patrick enters, walking to the counter to order. He sees Kat
and smiles.
PATRICK
Hey
She gathers her things and bolts out the door. Patrick
looks at Mandella, who shrugs and follows Kat.
INT. BIOLOGY CLASS - DAY Cameron and Michael flank Patrick
at his lab table
MICHAEL
So you got cozy with she who stings?
PATRICK
No - I've got a sweet-payin' job that
I'm about to lose.
CAMERON
What'd you do to her?
PATRICK
I don ' t know.
(beat)
I decided not to nail her when she was
too drunk to remember it.
Michael and Cameron look at each other in realization, then
turn back to Patrick.
CAMERON
You realize this puts the whole operation in peril.
PATRICK
No shit. She won't even look at me
CAMERON
Why can't you just tell her you're sorry?
Patrick's expression says that this is not a possibility.
Michael makes a time out sign with his hands.
MICHAEL
I'm on it
INT. HALLWAY - DAY
Mandella is at her locker. Drawings of William Shakespeare
adorn the door. She looks at them with a sigh, then ties
her silk scarf tightly around her neck, in an attempt to cut
off her air supply.
Michael walks up.
MICHAEL
Hey there. Tired of breathing?
MANDELLA
(shyly, as she
loosens the scarf)
Hi.
MICHAEL
Cool pictures. You a fan?
MANDELLA
Yeah. I guess.
MICHAEL rocks. Very hip.
MANDELLA
You think?
MICHAEL
Oh yeah.
She looks at him suspiciously
MANDELLA
Who could refrain that had a heart to
love and in that heart, courage to make
' B love known?
Michael thinks for a minute.
MICHAEL
Macbeth, right?
MANDELLA
(happily stunned)
Right.
MICHAEL
Kat a fan, too?
MANDELLA
(puzzled)
Yeah...
He leans in close to her, conspiratorially
MICHAEL
So, listen... I have this friend
EXT. FIELD HOCKEY FIELD - DAY
Cameron sits next to Patrick on the bleachers as they watch
Kat's practice.
CAMERON
She hates you with the fire of a
thousand suns . That's a direct quote
PATRICK
She just needs time to cool off I'll
give it a day.
A PUCK flies at them from the field, narrowly missing their
heads.
PATRICK
(continuing)
Maybe two.
He looks at Cameron.
PATRICK
(continuing)
You makin' any headway?
CAMERON
She kissed me.
PATRICK
(eyebrow raised)
Where?
INT. HALLWAY - DAY
Chastity rounds the corner and bends down to get a drink
from the water fountain.
NEARBY
Joey stands talking to two JOCK COHORTS. The guys don't see
her.
JOEY
Don't talk to me about the sweetest
date. That little halo Bianca is gonna
be prone and proven on prom night. Six
virgins in a row.
The cohorts chortle Chastity keeps drinking from the
fountain
EXT. PARKING LOT - DAY
Joey leans against Patrick's Jeep. Patrick is inside.
PATRICK
I don't know, Dorsey. ..the limo.-the
flowers. Another hundred for the tux --
JOEY
Enough with the Barbie n' Ken shit. I
know.
He pulls out his wallet and hands Patrick a wad of money
JOEY
(continuing)
Take it
Patrick does, with a smile, as he ROARS out of the parking
lot.
INT. SCHOOL COURTYARD - DAY
Kat and Mandella deface a prom flyer.
KAT
Can you even imagine? Who the hell
would go to this a bastion of commercial
excess?
MANDELLA
Well, I guess we're not, since we don't
have dates .
KAT
Listen to you! You sound like Betty,
all pissed off because Archie is taking
Veronica.
MANDELLA
Okay, okay, we won't go. It's not like
I have a dress anyway
KAT
You ' re looking at this from the wrong
perspective. We're making a statement.
MANDELLA
(unconvinced)
Oh, good. Something new and different
for us.
EXT. ARCHERY FIELD - DAY
Mr. Chapin patrols as boys and girls shoot arrows at targets
Joey swaggers up to Bianca, who is taking careful aim.
Chastity watches from across the row.
JOEY
Hey, sweet cheeks.
BIANCA
(not looking at
him)
Hi, Joey.
JOEY
You're concentrating awfully hard
considering it's gym class.
She lets the arrow go and turns to look at him.
JOEY
(continuing)
Listen, I want to talk to you about the
prom.
BIANCA
You know the deal. I can ' t go if Kat
doesn't go --
In the background, a RASTA crumples to the ground. Hit
A casualty of Gym. Mr. Chapin scurries over.
JOEY
Your sister is going.
Bianca looks at him, surprised
BIANCA
Since when?
Joey takes the bow and arrow from Bianca's hand. He draws
back and takes aim.
JOEY
I'm taking care of it.
Chastity looks over from her spot on the field, but keeps
lips firmly shut.
INT. BOOK STORE - DAY
Kat browses through the feminist lit section
Patrick appears, through a hole in the books.
PATRICK
Excuse me, have you seen The Feminine
Mystique? I lost my copy.
KAT
(frowning)
What are you doing here?
PATRICK
I heard there was a poetry reading.
KAT
You 're so --
PATRICK
Pleasant?
Kat stares at him, deadpan.
PATRICK
(continuing)
Wholesome.
KAT
Unwelcome.
PATRICK
Unwelcome? I guess someone still has
her panties in a twist.
KAT
Don't for one minute think that you had
any effect whatsoever on my panties.
PATRICK
So what did I have an effect on ?
KAT
Other than my upchuck reflex? Nothing.
She pushes past him and heads out the' door
Pat looks down at the book he's been holding in his hand:
Taming of the Shrew.
INT. CAFETERIA - DAY
Cameron and Michael flank Patrick as he shovels food into
mouth.
PATRICK
You were right. She's still pissed.
MICHAEL
Sweet love, renew thy force!
PATRICK
Man -- don't say shit like that to me.
People can hear you.
CAMERON
(exasperated)
You humiliated the woman! Sacrifice
yourself on the altar of dignity and
even the score.
MICHAEL
Best case scenario, you're back on the
payroll for awhile.
PATRICK
What's the worst?
CAMERON
You get the girl.
Patrick thinks for a minute
PATRICK
If I go down. I'm takin' her with me
INT. ENGLISH CLASS - DAY
Kat and the other students sit at their desks, taking a quiz
Patrick's seat is conspicuously empty.
From outside, we hear the soft, unsure beginnings of a SONG.
Kat looks up, then out the window, HORRIFIED.
The song grows louder until we realize it's The Partridge
Family's "I Think I Love You". Being sung by Patrick.
PATRICK
(0. S.)
"This morning, I woke up with this
feeling, I didn't know how to deal with,
and so I just decided to myself--"
The STUDENTS rush to the window. OUTSIDE Patrick stands
beneath the window, crooning.
Scurvy is next to him, keeping the beat on the bongos and
doing backup vocal s.
PATRICK
"I'd hide it to myself. And never talk
about it. And didn't I go and shout it
when you walked into the room --"
He makes quite a sarcastic show of it.
IN THE CLASSROOM
Mrs. Blaise touches her heart, as if the song is for her.
Kat slowly walks to the window, peeking below.
OUTSIDE
Patrick smiles at her as he finishes the verse with a big
finale.
PATRICK
(continuing)
" I think I love you I "
INSIDE
The other students laugh, clap, cheer, etc. Kat sinks down,
mortified, but with a slight smile
INT. DETENTION HALL - DAY
Patrick and several other miscreants sit quietly, mulling
over their misfortune.
MISCREANT
Nice song, Verona.
PATRICK
Flog me.
He makes the appropriate hand gesture
Mr. Chapin, the gym teacher, sits at the desk in front,
ignoring them while he reads a girly weightlifting magazine
KAT (0. S.)
Excuse me, Mr. Chapin?
Patrick looks up at the sound of her voice and sees Kat
standing in the doorway. She gives him a smile and he perks
up a little.
Kat walks into the room and addresses Mr. Chapin again. He
turns fully to face her.
KAT
Sir, I'd like to state for the record
that Mr. Verona ' s current
incarceration is unnecessary. I never
filed a complaint.
MR. CHAPIN
You didn't have to. He disrupted a
classroom.
Kat glances over at Patrick and motions her head toward the
window.
Patrick shrugs, not knowing what she ' s talking about.
She motions again, and looks toward the window with an
expression that says, "Make a break for it, moron."
Kat brings her attention back to Mr. Chapin while Patrick
inches out of his seat toward the window.
The other miscreants watch with glee.
KAT
But, Mr. Chapin, I hardly think a
simple serenade warrants a week of
detention. There are far more hideous
acts than off-key singing being
performed by the student body on a
regular basis.
Patrick is halfway out the window now. And none too happy
about it, considering they're on the second floor.
He eyes a large TREE a few feet away from MR. CHAPIN. He
starts to turn away from Kat
MR. CHAPIN
You're not gonna change my mind, Kat.
Rules stick.
Kat starts to panic, as Patrick has yet to make the jump for
the tree.
KAT
Wait, Mr. Chapin. There's something
I've always wanted to show you.
He turns back toward her again, the very second before he
would have spotted Patrick.
Kat glances toward the window. Patrick's just about to make
the jump.
MR. CHAPIN
What?
KAT
These.
From behind, we see her lift up her shirt and flash her bra
at Mr. Chapin, just as Patrick makes the Jump.
The miscreants cheer, for both the daring' escape and the
flash of skin.
Mr. Chapin reddens and tries to be stern.
MR. CHAPIN
I'm going to let that slide, Katarina.
But if I catch you doing that again,
you'll be in here with the rest of these
guys.
He motions to the remaining detention prisoners, without
noticing Patrick's absence.
Kat smiles at him.
KAT
Thank you, Mr. Chapin.
Kat bolts out the door. Mr. Chapin goes back to his muscle
mag, wiping the sweat from his brow.
EXT. SCHOOL CAMPUS LAWN
Kat arrives at the tree. looking around breathlessly, seeing
no one.
KAT
He left! I sprung the dickhead and he
cruised on me.
PATRICK
(0. S.)
Look up, sunshine
She does. He's still in the tree
PATRICK
I guess I never told you I'm afraid of
heights.
KAT
(smiling)
C'mon. It's not that bad
PATRICK
Try lookin' at it from this angle
She assesses the branch structure
KAT
Put your right foot there --
PATRICK
Forget it. I'm stayin'.
KAT
You want me to climb up and show you
how to get down?
PATRICK
(voice trembling)
Maybe.
She sighs and dose so. When she gets to his level, she
perches on the branch next to him. He grins at her.
Then swings himself down with the grace and ease of a
monkey, leaving her sitting there, realizing she's been
duped.
KAT
You shit!
She climbs down after him
EXT. OUTDOOR ARCADE - DAY
Patrick and Kat walk amongst the games
KAT
The Partridge Family?
PATRICK
I figured it had to be something
ridiculous to win your respect. And
piss you off.
KAT
Good call.
PATRICK
So how'd you get Chapin to look the
other way?
KAT
I dazzled him with my wit
She stops and picks up a toy gun that SHOOTS water at
giggling hyenas and wails on it. The barker hands her a
stuffed animal as her prize. She hands it to the small KID
next to her and they continue walking.
PATRICK
(sarcastic)
A soft side? Who knew?
KAT
Yeah, well, don't let it get out
PATRICK
So what's your excuse?
KAT
Acting the way we do.
PATRICK
Yes
KAT
I don't like to do what people expect.
Then they expect it all the time and
they get disappointed when you change.
PATRICK
So if you disappoint them from the
start, you're covered?
KAT
Something like that
PATRICK
Then you screwed up
KAT
How?
PATRICK
You never disappointed me.
She blushes under his gaze
PATRICK
(continuing)
You up for it?
KAT
For. . . ?
He motions to the SIGN for a paint-ball game. She grins
SERIES OF SHOTS:
The two of them creep through the paint-ball course,
stealthy and full of the desire to best the other.
Patrick nails Kat in the back with a big glob of red paint
Kat gets him in the chest with a glob of blue.
Patrick returns fire with a big yellow splat to the side of
her face.
Kat squirts a green shot to his forehead After a few more
shots, they're both covered in paint
She tries to shoot him again, only to find that her gun is
empty.
KAT
(continuing)
Damn it!
Patrick grabs her in a victorious tackle. They land,
laughing.
It's hard to even recognize them, as their hair and faces
are so smeared with paint globs, but they still manage to
find each other's eyes.
He wipes a smear of blue paint away from her lips, as he
goes to kiss her.
NEARBY The kid with the stuffed animal, points
KID
Look, Mom
His mother hurries him away. What's started as a tackle has
turned into a passionate kiss
EXT. STRATFORD HOUSE - NIGHT
Patrick pulls up in Kat's driveway. Their paint wardrobe
has dried by now and they look like refugees from some
strange, yet colorful, war.
KAT
State trooper?
PATRICK
Fallacy.
KAT
The duck?
PATRICK
Hearsay.
KAT
I know the porn career's a lie.
He shuts off the car and turns to her.
PATRICK
Do you?
He kisses her neck. It tickles. She laughs.
KAT
Tell me something true.
PATRICK
I hate peas.
KAT
No -- something real. Something no one
else knows.
PATRICK
(in-between kisses)
You're sweet. And sexy. And
completely hot for me.
KAT
What?
PATRICK
No one else knows
KAT
You're amazingly self-assured. Has
anyone ever told you that?
PATRICK
Go to the prom with me
Kat's smile disappears.
KAT
Is that a request or a command?
PATRICK
You know what I mean
KAT
No.
PATRICK
No what?
KAT
No, I won't go with you
PATRICK
Why not?
KAT
Because I don't want to. It's a stupid
tradition.
Patrick sits quietly, torn. He can't very well tell her he
being paid to take her.
PATRICK
People won't expect you to go...
Kat turns to him, getting angry.
KAT
Why are you doing this?
KAT
All of it -- what's in it for you?
He sits silently, not looking at her, confirming her
suspicions.
KAT
(continuing)
Create a little drama? Start a new
rumor? What?
PATRICK
So I have to have a motive to be with
you?
KAT
You tell me.
PATRICK
You need therapy. Has anyone ever told
you that?
KAT
(quietly)
Answer the question, Patrick
PATRICK
(angry)
Nothing! There's nothing in it for me.
Just the pleasure of your company.
He takes out a cigarette. She breaks it in half before she
SLAMS the car door and walks into the house.
Patrick PEELS out of the driveway. Kat turns at the front
door and watches him go
EXT. STREET - NIGHT
Patrick pulls up to a stop light and waits for .the green
He glances over at A DRUNKEN HOMELESS GUY in the median, who
has decided that he doesn't need to wear pants.
Patrick pulls out his wallet, takes the wad of money Joey
gave him and hands it to the homeless guy.
PATRICK
cover that up
The light turns green and Patrick pulls away
INT. STRATFORD HOUSE/BATHROOM - NIGHT
Kat stands at the sink, scrubbing paint off of her face
Bianca TAPS on the open door.
BIANCA
Quick question -- are you going to the
prom?
Kat pushes the door shut with a SLAM
INT. STUDY HALL - DAY
Cameron and Bianca sit together at their study cubby. She
fingers a strand of her hair.
BIANCA
Then Guillermo says, "If you go any
lighter, you're gonna look like an extra
on 90210."
CAMERON
No...
Bianca stares at him for a moment.
BIANCA
do you listen to this crap?
CAMERON
What crap?
BIANCA
Me. This endless ...blonde babble. I'm
like, boring myself.
CAMERON
Thank God! If I had to hear one more
story about your coiffure...
He mock stabs himself with a pencil as she giggles and
smacks his hand away.
CAMERON
(continuing)
I figured you'd get to the good stuff
eventually.
BIANCA
What good stuff?
CAMERON
The "real you".
BIANCA
Like my fear of wearing pastels?
He looks stricken.
BIANCA
(continuing)
I'm kidding.
(beat)
You know how sometimes you just become
this "persona"? And you don't know how
to quit?
CAMERON
(matter of fact)
No
BIANCA
Okay -- you're gonna need to learn how
to lie.
INT. HALLWAY - DAY
Mandella struggles with the lock on her locker. Finally, it
opens.
Hanging inside is a beautiful DRESS, inspired by the 16th
Century. Mandella slowly unpins a NOTE from the dress.
INSERT - "0 FAIR ONE. JOIN ME AT THE PROM. I WILL BE
WAITING. LOVE, WILLIAM S."
Mandella's agog. Trevor walks by and sees her holding the
dress.
TREVOR
You're gonna look splendiferous in
that, Mandella.
Mandella looks up sharply, shaken from her reverie.
TREVOR
(continuing)
that's cool to say.
Mandella grins It is
MANDELLA
INT. STRATFORD HOUSE/DEN - DAY
Sharon is at her computer, Walter at his exercise bike
SHARON
Would you rather be ravished by a
pirate or a British rear admiral?
WALTER
Pirate -- no question.
Bianca enters and walks over to Walter
BIANCA
Daddy, I want to discuss the prom with
you. It's tomorrow night --
WALTER
The prom? Kat has a date?
BIANCA
No, but
WALTER
It's that hot rod Joey, right? That ' s
who you want me to bend my rules for?
BIANCA
He's not a "hot rod". Whatever that
is.
WALTER
You're not going unless your sister
goes. End of story.
BIANCA
Fine. I see that I'm a prisoner in my
own house. I'm not a daughter. I'm a
possession!
Bianca storms out.
WALTER
(calling out)
You know what happens at proms?
Sharon stops her typing and looks up at Walter
SHARON
They'll dance, they'll kiss, they'll
come home. Let her go.
WALTER
Kissing? Is that what you think
happens? Kissing isn't what keeps me up
to my elbows in placenta all day.
INT. BIANCA'S ROOM - NIGHT
Bianca lies on her bed. MTV blares. A KNOCK sounds.
BIANCA
Come in.
Kat enters and sits down on the bed, muting the TV.
KAT
(kindly)
Listen, I know you hate having to sit
home because I'm not Susie High School.
BIANCA
Like you care.
KAT
I do care. But I'm a firm believer in
doing something for your own reasons,
not someone else ' s .
BIANCA
I wish I had that luxury. I'm the only
sophomore that got asked to the prom and
I can't go, because you won ' t.
Kat clears her throat
KAT
Joey never told you we went out, did
he?
BIANCA
What?
KAT
In 9th. For a month
BIANCA
(confused)
Why?
KAT
(self-mocking)
He was, like, a total babe
BIANCA
But you hate Joey
KAT
Now I do. Back then, was a different
story.
BIANCA
As in...
Kat takes a deep breath.
KAT
He said everyone was doing it. So I
did it.
BIANCA
You did what?
KAT
(continuing on)
Just once. Afterwards, I told him I
didn't want to anymore. I wasn't ready.
He got pissed. Then he broke up with
me.
Bianca stares at her, dumbfounded
BIANCA
But
KAT
After that, I swore I'd never do
anything just because "everyone else"
was doing it. And I haven't since.
Except for Bogey's party, and my
stunning gastro-intestinal display --
BIANCA
(stunned)
Why didn't you tell me?
KAT
I wanted to let you make up your own
mind about him.
BIANCA
No. you didn't! If you really thought
I could make my own decisions, you
would've let me go out with him instead
of helping Daddy hold me hostage.
Kat stands up slowly
KAT
That's not
BIANCA
I'm not stupid enough to repeat your
mistakes.
KAT
I guess I thought I was protecting you.
BIANCA
God, you're just like him! Just keep me
locked away in the dark, so I can't
experience anything for myself
KAT
Not all experiences are good, Bianca.
You can't always trust the people you
want to.
BIANCA
I guess I'll never know, will I?
She rises and holds the door open for Kat, then slams it
behind her.
EXT. STRATFORD HOUSE - DAY
A sprinkler cruises the lawn.
INT. KAT'S ROOM - DAY
Kat lies in bed, staring at the ceiling. She rolls over and
picks up the phone.
BIANCA'S ROOM - DAY
Bianca, still in her pajamas, eats a bowl of cereal while
watching "I Love Lucy" reruns.
A KNOCK sounds
BIANCA
Come in.
Kat opens the door and peers in with a grin
KAT
Feel like shopping?
Bianca looks up, hopefully.
LIVING ROOM - NIGHT
Walter and Sharon are in front of the television. Walter
has the TV Guide in hand, glasses on.
WALTER
What do you wanna watch? We've got
crap, crap, crap or crap
SHARON
Dr. Ruth?
Bianca walks into the living room. She's wearing a prom
dress.
BIANCA
Hi, Mommy.
(looking away)
WALTER
Walter scurries takes off his glasses and looks from Bianca
to Sharon.
SHARON
Honey, you look beautiful!
BIANCA
You like? My date should be here in
five.
WALTER
I'm missing something.
BIANCA
I have a date, Daddy. And he ' s not a
captain of oppression like some men we
know.
The DOORBELL RINGS. Bianca runs to open it. There stands
CAMERON. He takes in Bianca's outfit.
CAMERON
Wow
BIANCA
Let's go.
Walter rises. Sharon pulls him back down on the couch
SHARON
(to Bianca)
Have a great time, honey!
WALTER
But -- who -- what --?
The door SLAMS. As Sharon looks at Walter with a grin, a
blur rushes down the stairs and out the door. The blur has
Kat ' s voice.
KAT
Hey, guys. I'm going to the prom. See
you in a few.
The door SLAMS again. Walter and Sharon 'are alone
WALTER
What just happened?
SHARON
Your daughters went to the prom.
WALTER
Did I have anything to say about it?
SHARON
Absolutely not.
WALTER
That ' s what I thought
The DOORBELL RINGS again. Walter opens it to find Joey on
the porch, wearing a tux.
JOEY
I'm here to pick up Bianca.
WALTER
late
He SLAMS the door shut
EXT HOTEL PARKING LOT - NIGHT
Kat pulls up in her car, emerging resplendent in an ice
gown.
Patrick sits on the steps, waiting. In a tux.
KAT
How'd you get a tux at the last minute?
PATRICK
It's Scurvy's. His date got convicted.
Where'd you get the dress?
KAT
It's just something I had. You know
PATRICK
(smiling)
Oh huh
KAT
Look, I'm -- sorry -- that I
questioned your motives. I was wrong.
Patrick winces slightly, but covers it with a smile
PATRICK
No prob.
He remains seated. Kat fidgets nervously.
KAT
are you ready?
He rises and stares at her, taking in her image
appreciatively. She blushes and turns away.
KAT
(continuing)
C'mon. Let's get this over with.
INT. PROM - NIGHT
A hotel ballroom transformed into a fantasy world. Patrick
and Kat enter, Kat attempting to deny the romance of it.
KAT
Quite the ostentatious display
A cowboy two-steps by them, dragging some poor girl around
PATRICK
Look, Clem even wore his good boots
Kat steps forward, looking around and spots Cameron and
Bianca dancing cheek to cheek. She smiles.
ACROSS THE ROOM
Mandella enters nervously, in the long Elizabethan gown,
hair piled on top of her head. She spots Kat and hurries
over.
MANDELLA
Have you seen him?
KAT
Who?
MANDELLA
William - he asked me to meet him here.
KAT
Oh, honey -- tell me we haven't'
progressed to full-on hallucinations.
Patrick looks toward the door and taps Kat. She turns and
points Mandella the same way.
Michael - in full Shakespearean dress with a new goatee on
his chin - bows in their direction. Mandella's grin couldn't
be bigger.
Michael swashbuckles over to them, taking Mandella's hand
and leading her onto the dance floor.
MICHAEL
Mi' lady.
(to Patrick)
Good sir.
Patrick rolls his eyes.
INT. PROM - NIGHT - LATER
Kat and Patrick dance to a slow SONG. Whatever he's
whispering into her ear is making her laugh.
Cam and Bianca dance nearby, glowing with happiness. She
whispers something in his ear and heads for the ladies' room
INT. LADIES ROOM - NIGHT
Bianca walks in, positively radiant. Chastity emerges from a
stall.
BIANCA
(surprised)
What are you doing here?
Chastity checks her hair in the mirror, aloof.
CHASTITY
You think you ' re the only sophomore
at the prom?
BIANCA
I did.
Chastity maintains her snooty tone.
CHASTITY
And just so you know, my date isn't
planning on spending most of the night
in his backseat.
BIANCA What're you talking about?
CHASTITY
Joey Dorsey is only after one thing - -
your cherry. He practically made a
public announcement.
Appalled, Bianca storms out. Chastity tries to backpedal.
CHASTITY
(continuing)
I wanted to tell you
INT. PROM - NIGHT
Joey, drunk, disorderly and pissed off, walks in with a few
stray jocks - also dateless. He zeroes in on Cameron, now
consoling a pissed-off Bianca.
Patrick and Kat continue to slow dance, oblivious to the
evil about to erupt.
PATRICK
My grandmother's .
KAT
What?
PATRICK
That's where I was last year. She'd
never lived alone -- my grandfather died
-- I stayed with her. I wasn't in jail,
I don't know Marilyn Manson, and I've
never slept with a Spice Girl. I spent
a year sitting next to my grandma on the
couch watching Wheel of Fortune. End of
story.
He takes a breath and looks away, not meeting her eyes. Kat
stares at him for a moment and laughs a delighted laugh
KAT
That ' s completely adorable!
PATRICK
It gets worse -- you still have your
freshman yearbook?
He's interrupted by Joey's hand on his shoulder.
JOEY
What's Bianca doing here with that
cheese dick? I didn't pay you to let
some little punk ass snake me.
ACROSS THE ROOM
Michael spots the altercation and dances Mandella over to
Cameron and Bianca.
MICHAEL
(to Cameron)
Feces hitting fan. C'mon
Michael takes Cameron aside, leaving Mandella and Bianca
staring after them.
ACROSS THE ROOM
Michael and Cameron approach Joey as he continues to taunt
Patrick who keeps quiet, realizing the weight of this
situation.
MICHAEL
(continuing)
Joey, pal, compadre. Let's take it
easy.
Joey turns toward Michael and Cameron.
JOEY You two are in big trouble
Cameron faces Joey.
CAMERON
Admit it. You lost. Be a man.
Joey PUNCHES Cameron in the face, taking him by surprise
Cameron holds his nose as it bleeds onto his tux
The various cliques descend angrily and Joey is soon
surrounded by seething Cowboys, Coffee Kids and White
Rastas.
DEREK
Very uncool, my brother
JOEY
I'm not your brother, white boy.
The other Rastas GASP, as if stung by the realization that
they're white.
Joey turns back to Patrick and Kat.
JOEY
(continuing)
Just so you know -- she'll only spread
her legs once.
Kat looks from Joey to Patrick, not sure what she's hearing.
Joey pushes through the crowd but a HAND drags him back.
It's Bianca. And she BELTS the hell out of him
BIANCA
That's for making my date bleed
She BELTS him again
BIANCA
(continuing)
That's for my sister.
And AGAIN
BIANCA
(continuing)
And that's for me.
Cliques now descend on Joey, punching him wildly.
COWBOY
And that's for the fourth grade,
asshole.
HOTEL - NIGHT
KAT runs down the stairs, Patrick chasing her
PATRICK
Wait I...
KAT
You were paid to take me out! By --
the one person I truly hate. I knew it
was a set-up!
PATRICK
It wasn't like that.
KAT
Really? What was it like? A down
payment now, then a bonus for sleeping
with me?
PATRICK
I didn't care about the money.
He catches up to her now
PATRICK
(continuing)
I cared about --
She turns to face him with a countenance more in sorrow than
in anger.
KAT
You are so not what I thought you were.
He grabs her and kisses her to shut her up. After a second,
she jerks away and flees down the stairs and out of sight.
Bianca stands at the top of the stairs, watching. She's
never looked more guilty.
INT. STRATFORD HOUSE - DAY
Kat is sprawled on the couch in sweats, wrapped in a
blanket, watching "Sixteen Candles". When Molly Ringwald
leans across the birthday cake to get a kiss from her dream
date, Kat changes the channel disgustedly, settling for an
infomercial
The phone sits next to her. Not ringing. Bianca breezes
in, bearing a cup of tea.
BIANCA
Are you sure you don't want to come
with us? It'll be fun.
Kat takes the tea and gives a weak smile.
KAT
I ' m sure .
Bianca sits down next to her
BIANCA
You looked beautiful last night, you
know.
KAT
So did you
Bianca gives her a squeeze, then jumps up when the DOORBELL
rings, opening the door to a waiting Cameron. He peeks his
head inside.
CAMERON
She okay?
BIANCA
I hope so.
The door shuts behind her as Walter enters.
WALTER
Was that your sister?
KAT
Yeah. She left with some bikers Big
ones. Full of sperm.
WALTER
Funny.
Walter sits down on the arm of the chair and watches the
infomercial with Kat.
WALTER
(continuing)
I don't understand the allure of
dehydrated food. Is this something I
should be hip to?
KAT
No, Daddy.
WALTER
(dreading the
answer)
So tell me about this dance. Was it
fun?
KAT
Parts of it.
WALTER
Which parts?
KAT
The part where Bianca beat the hell out
of some guy.
WALTER
Bianca did what?
KAT
What's the matter? Upset that I rubbed
off on her?
WALTER
No -- impressed.
Kat looks up in surprise.
WALTER
(continuing)
You know, fathers don't like to admit
that their daughters are capable of
running their own lives. It means we've
become spectators. Bianca still lets me
play a few innings. You've had me on
the bleachers for years. When you go to
Sarah Lawrence, I won't even be able to
watch the game.
KAT
(hopeful)
When I go?
WALTER
Oh, Christ. Don't tell me you've
changed your mind. I already sent 'em a
check.
Kat reaches over and gives him a hug
INT. CAFETERIA - DAY Kat stands grabs a box of cornflakes
from the food line.
CAMERON (0. S.)
Katarina?
She turns and looks at him
CAMERON
I'd like to express my apologies.
KAT
For what?
CAMERON
(looking down)
I didn't mean for you to get -- When
Bianca asked me to find you a boyfriend,
I had no idea it would turn out so --
ugly. I would never have done anything
to compromise your - - -
He trails off when he realizes she's thrown her food tray
against the wall and marched off -- the old "kill, kill"
look back in her eyes.
INT. HALLWAY - DAY
Kat stomps up the hallway, full of menace
CLASSROOM - DAY
Bianca's English teacher perches on the edge of a desk, open
book in hand.
TEACHER
Who can tell me at what point Lucentio
admits his deception?
The door of the classroom FLIES open and an angry Kat stalks
in, yanking Bianca from her chair and dragging her toward
the hallway.
KAT
(to the teacher)
Family emergency.
HALLWAY - DAY
Bianca tries to pull away as Kat drags her by the hair
between two rows of lockers.
BIANCA
Let go!
KAT
You set me up.
BIANCA
I just wanted --
KAT
What? To completely damage me? To send
me to therapy forever? What?
BIANCA
No! I just wanted
Miss Perky walks up
MISS PERKY
Ladies? Shall we take a trip to my
office?
INT. MISS PERKY'S OFFICE - DAY
Miss Perky stares at both sisters as they sit before her,
then focuses on Bianca.
MISS PERKY
So you're the real bitch
BIANCA
Yes! Okay? Yes -- I'm the real bitch.
I wanted her to get a boyfriend so I
could. Apparently, this makes me a
horrible person. I'm sorry.
She turns to Kat.
BIANCA
(continuing)
I swear -- I didn't know about the
money. I didn't even know Joey was
involved. I would never intentionally
hurt you, Kat.
MISS PERKY
(to Kat)
Do you care to respond?
KAT
Am I supposed to feel better? Like,
right now? Or do I have some time to
think about it?
MISS PERKY
Just smack her now.
Bianca rises, taking Kat by the arm.
BIANCA
(to Miss Perky)
We'll be getting back to you.
MISS PERKY
What, no hug?
HALLWAY - DAY
And Bianca leave Miss Perky's office
BIANCA
Is that woman a complete fruit-loop or
is it just me?
KAT
It's just you.
ENGLISH CLASS - DAY
Mrs. Blaise faces the class
MRS. BLAISE
All right. I'm assuming everyone found
time to compose, their poems. Except for
Mr. Dorsey, who's still in ICU.
Nerds in the back high-five each other.
MRS. BLAISE
(continuing)
Would anyone care to read theirs aloud?
No one moves. Then Kat slowly stands up.
KAT
I'11 go
Patrick looks up.
MRS. BLAISE
Oh, Lord.
She downs a couple Prozac
MRS. BLAISE
(continuing)
Please proceed.
Kat stands, puts on her glasses, and takes a deep breath
before reading from her notebook.
KAT
I hate the way you talk to me/ and the
way you cut your hair/ I hate the way
you drive my car/ I hate it when you
stare.
She pauses, then continues
KAT
(continuing)
I hate your big dumb combat boots/ and
the way you read my mind/ I hate you so
much it makes me sick/ it even makes me
rhyme.
She takes a deep breath, and looks quickly at Patrick, who
stares at the floor.
KAT
(continuing)
I hate the way you're always right/ I
hate it when you lie/ I hate it when you
make me laugh/ even worse when you make
me cry/ I hate it that you're not
around/ and the fact that you didn't
call/ But mostly I hate the way I don '
t hate you/ not even close, not even a
little bit, not even any at all.
She looks directly at Patrick. He looks back this time.
The look they exchange says everything.
Then she walks out of the room The rest of the class remains
in stunned silence.
EXT. PARKING LOT - MOMENTS LATER
Kat walks to her car alone. When she opens the door, she's
greeted with a Fender Stratocaster guitar, reclining in the
front seat.
She picks it up slowly, inspecting every detail, then spins
around.
Patrick stands there, smiling.
KAT
A Fender Strat. You bought this?
PATRICK
I thought you could use it. When you
start your band.
She doesn't answer, but hides a smile, so he walks closer.
PATRICK
(continuing)
Besides, I had some extra cash. Some
asshole paid me to take out a really
great girl.
KAT
Is that right?
PATRICK
Yeah, but then I fucked up. I fell for
her.
Blushes and looks down.
PATRICK
(continuing)
You know -- it's not every day you find
a girl who'll flash her tits to get you
out of detention.
Looks up. surprised and embarrassed that he found out
He takes her upturned face as a sign to kiss her and he does
She lets him this time.
Then breaks it off
KAT
You can't just buy me a guitar every
time you screw up, you know.
He grimaces.
PATRICK
I know
He quiets her with another kiss Which she breaks off again.
KAT
And don't just think you can
He kisses her again, not letting her end it this time.
STRATFORD HOUSE - SUNSET
We hear the sounds of MUSIC and LAUGHTER.
STRATFORD HOUSE/BACKYARD - SUNSET
Patrick is at the barbecue grill, flipping burgers. Kat
watches.
KAT
Why is my veggie burger the only burnt
object on this grill?
PATRICK
Because I like to torture you.
KAT
Oh, Bianca? Can you get me my freshman
yearbook?
PATRICK
Don ' t you even dare. . .
ON BIANCA AND CAMERON As they argue on the patio.
CAMERON
They do to!
BIANCA
They do not!
Rises to get the yearbook.
CAMERON
Can someone please tell her that
sunflower seeds come from sunflowers?
ON MICHAEL AND MANDELLA
Severely making-out in a lawn chair. She comes up for a
breath.
MANDELLA
I can't remember a word of Shakespeare
right now. Isn't that weird?
Michael pulls her back down for another round ON KAT AND
PATRICK
She tries to keep him from grabbing the yearbook that Bianca
now hands her.
KAT
You're freaked over this, aren't you?
Bianca hands her the yearbook
BIANCA
He's more than freaked. He's froke
Flips to a page.
KAT
I'd like to call your attention to
Patrick Verona's stunning bad-ass look
of 1995 ---
INSERT - A horrifically nerdy freshman year picture Glasses,
bad hair, headgear -- the works.
She holds up the picture for all to view. Patrick cringes
and throws a handful of pretzels at her.
BIANCA
Patrick -- is that- a.
KAT
Perm?
PATRICK
Ask my attorney.
Kat and Bianca huddle over the picture, giggling -- as we
CRANE UP and hear a GIRLY PUNK version of The Partridge
Family's "I Think I Love You".
FADE OUT:
END
</pre>
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FADE IN
on the words CZECH AIRLINE. We are panning across the words
on the side of the plane.
INT. AIRPLANE
ANGLE DOWN
on a tray table. Crumpled Czech bills and coins are on it.
Hands are counting the money. The airline hostess announces
the arrival at JFK - in CZECH. A hand reaches into a breast
pocket - pulling out two passports. One is opened. Belongs
to EMIL SLOVAK. The next passport belongs to OLEG RAZGUL.
The hand passes the Oleg Razgul passport to the man next to
him. We notice several empty airline bottles of vodka and a
small disposable camera on Oleg's tray table. The passport
is set down. Oleg picks it up. We hear Emil's voice in
CZECH. The scene is subtitled in ENGLISH.
EMIL (V.O.)
Just do what I do. Say the same thing I
say. Don't open your mouth.
OLEG (V.O.)
Okay.
INT. PASSPORT CONTROL - KENNEDY AIRPORT - DAY
CAMERA DOLLIES down a long line of passengers. They are
split into two lines - one for Americans, the other for
visitors. CAMERA finally arrives at EMIL SLOVAK. An
unshaven Czech in his mid-30's. Tall, scraggly beard.
Piercing blue eyes. He's dressed in an outdated suit. His
eyes are alert, cunning and smart.
OLEG RAZGUL, stands in line behind Emil. Oleg is big. Not
tall - but wide. A wrestler's body. Emil looks at Oleg.
(The following is in CZECH and subtitled in ENGLISH.)
EMIL
Don't fool around.
OLEG
Okay.
Oleg holds up his disposable camera - at arms length - to
take a picture of himself.
EMIL
Did you hear what I said?
OLEG
I want to document my trip to America.
IMMIGRATION OFFICER
Next.
(Emil steps up)
Could I see your documents, please?
EMIL
Yes sir.
He hands the passport to the officer who runs it through an
image swipe. Emil glances furtively back to Oleg.
IMMIGRATION OFFICER
What is your intended purpose of your
visit to the United States?
EMIL
Two weeks holiday.
IMMIGRATION OFFICER
How much money are you carrying with
you?
EMIL
I have five-hundred dollars.
IMMIGRATION OFFICER
Can you show me? Sir, no cameras in the
FIS area!
Oleg was about to take a picture of Emil and the Immigration
Officer. Oleg puts the camera away. Smiles sheepishly.
IMMIGRATION OFFICER (CONT'D)
(to Emil)
Is he with you? Are you travelling
together?
EMIL
Yes.
IMMIGRATION OFFICER
Please join us.
(to Oleg)
Come on forward.
EMIL
Is there a problem?
IMMIGRATION OFFICER
No, you're travelling together. I want
to talk to you together. Hi, how are
you? Can I take a look at your
documents?
(takes Oleg's passport)
Are you related?
OLEG
Yes...he's my friend.
IMMIGRATION OFFICER
Okay. You're a Czech national and
you're a Russian national. How do you
know one another?
Oleg starts to speak, but Emil cuts him off.
EMIL
We are both from Prague.
IMMIGRATION OFFICER
(to Oleg)
How long are you planning to stay?
EMIL
Two weeks.
IMMIGRATION OFFICER
I'd like to speak for himself, okay?
EMIL
He doesn't speak English.
OLEG
I speak English.
IMMIGRATION OFFICER
(to Oleg)
Then answer my questions. Where were
you planning to stay during the two
weeks that you're here?
OLEG
New York.
IMMIGRATION OFFICER
Yes, we're in New York now. But where
are you planning to stay in New York?
OLEG
A cheap hotel.
IMMIGRATION OFFICER
What are you coming here to do?
OLEG
I'm here for movies.
IMMIGRATION OFFICER
Movies...to be in the movies or to see
movies?
OLEG
Yes. No. Both. When I was a boy, I
see movie at school called "It's a
Wonderful Life" directed by Frank Capra.
Ever since I want to come to America.
Land of the free. Home of the brave. A
land where anyone can be anything. As
long as they are white.
IMMIGRATION OFFICER
Excuse me?
EMIL
He made joke, bad joke. First time on
airplane...
The SUPERVISOR comes over to see what the problem is:
IMMIGRATION OFFICER
Well, they've got valid visas, but they
don't have much money. Uh... and I'm
not...uh, I think there's a possibility
they may be coming to live and reside.
SUPERVISOR
Look how long the line is. We gotta
move 'em out. I'll take them down to
secondary.
Emil looks at Oleg, pissed.
INT. P.B. HERMAN'S RESTAURANT - DAY
The place is empty except for one table at the end of the
bar. EDDIE FLEMMING, Manhattan's most famous detective, and
his savvy, black partner, LEON JACKSON are having cocktails.
Eddie is smoothly handsome, tough, smart and tired. Not only
is he the best homicide detective Manhattan has ever seen,
he's continually mentioned in New York columns and has been
the subject of several magazine articles. There's even been
a TV movie about one of his biggest cases. Leon has been
with Eddie a long time and was also featured in the TV movie.
Sitting with Eddie and Leon is ROBERT HAWKINS, host and star
reporter for the tabloid show, "Top Story." Hawkins is also
the best in the business and has dealt with them all: Joey
Buttafuco and Amy Fisher, Lorena Bobbit and OJ.
Wait staff bustles in the b.g. doing the morning set up.
Hawkins listens as Eddie, cigar in hand, finishes a "war
story" and a vodka tonic at the same time.
EDDIE
So we're waitin' to hit this warrant -
we got Emergency Service with the heavy
weapons standin' by - ready to go. I
say, lemme get a cigar outta the car. I
go to get the cigar and BOOM! All the
sudden I turn around and a kid with a
shotgun let one go. Right where I was
standin'. That coulda been it. I
coulda had my head blown off and for
what? Some stupid kid got panicky,
takes the safety off and it's over. If
I hadn't gone back for that cigar - for
a bad habit - I would've had my head
blown off.
HAWKINS
Jesus Christ.
PAULIE, the owner, walks up.
PAULIE
Speakin' of bad habits, everybody okay?
HAWKINS
Another martini.
LEON
Coffee for me, I gotta slow down.
EDDIE
Vodka tonic.
LEON
(rethinks it)
Maybe you could just put in a shot of
Martell?
Paulie takes the drinks off the table and an empty bottle of
vodka.
LEON (CONT'D)
(of Eddie's story)
It was freaky, I'll tell you. Stupid
kid.
EDDIE
What's the kid gonna say - sorry?
Meanwhile I'm not here anymore.
Like last week - we were at the morgue
and this guy was all chopped up - spleen
here - liver there - his heart in a pan.
Six hours ago this guy was walkin' his
dog or buyin' a quart of milk. Who
knows? But some kid's robbed him for $3
or some shit and shot him and now you
can't tell if he's a piece of beef or a
human being and I'm thinkin' that's me.
Sooner or later. That's me.
HAWKINS
Sooner or later that's everybody.
EDDIE
Not chopped up. Not chopped up like
that. I mean, what do I got left?
Coupla articles. A medal or two.
Plaque here and there and in a coupla
years no one remembers me anymore.
HAWKINS
I think you're getting a little moody
there, Eddie.
EDDIE
I'm not moody.
Hawkins and Leon share a look.
HAWKINS
Isn't he a little moody?
LEON
Of course he's moody. He thinks he's in
love.
HAWKINS
In love? With who?
Paulie delivers the drinks and sets some cigars on the table.
Takes a seat next to Eddie. Eddie asks Hawkins.
EDDIE
How old are your kids?
HAWKINS
My kids? Let's see...Susan's 15.
Aundrea's 9. Don't tell me you're
thinking about having a kid! How old
are you? Never mind.
Let me just tell you this: Every stupid
cliche you hear about kids - they change
your life, they make you a better
person, they make you whole...
(beat)
It's all true! Before I had kids when
friends talked about their kids, I
wanted to vomit. Now -- I get it. Am I
right, Leon?
LEON
Absomotherfuckin'lutely. You can have
all three of my ex-wives. But somebody
so much as looks sideways at my four
girls -- I'd kill 'em.
(takes out his wallet)
You haven't seen my youngest have you?
As he hands pictures to Hawkins his cell phone rings.
LEON (CONT'D)
Yeah?
HAWKINS
Paulie, you've got kids, right?
PAULIE
My kids don't talk to me anymore but
they were great when they were young.
LEON
(into the phone)
Sure it's him? Great!
(collapses the phone)
Unique's home.
They all rise from the table.
EDDIE
Paulie, I need the cure.
PAULIE
Step into my office.
Leon and Hawkins sit back down as Eddie and Paulie leave.
HAWKINS
So you got your kids listening to Opera?
You still singing in the church on the
weekends?
INT. SECONDARY IMMIGRATION OFFICE - DAY
Now other officers are questioning Emil and Oleg. They've
been there a while. The SECONDARY OFFICER is looking Oleg.
SECONDARY OFFICER
Okay. You work in a vodka factory. I
understand that.
(to Emil)
And what kind of work do you do?
EMIL
I am butcher.
SECONDARY OFFICER
You're a butcher? What do you use pig
intestines for?
EMIL
You stuff sausage in it.
SECONDARY OFFICER
And what do you do with the bones?
EMIL
Dog food.
Emil looks at Oleg. Blaming his stupid responses at Passport
Control for their detainment.
SECONDARY OFFICER
Are you married?
EMIL
No. Are you proposing?
ANGLE UP
through a thousand ICE CUBES. A face plunges towards us...
INT. MENS ROOM
Eddie has his back to us as he dunks his face into a sink
full of ice. He dries his face, looks into his bloodshot
eyes. Presents a small black ring box to the mirror.
EDDIE
Will you marry me? Wanna get married?
What are you doin' Saturday?
Leon enters. Eddie turns.
EDDIE (CONT'D)
I'm gonna propose.
LEON
When?
EDDIE
Tomorrow. At lunch.
LEON
You ready?
Eddie leans back and drops some Visine in his eyes. Turns.
EDDIE
The thrill of the hunt. I love it.
EXT. TIMES SQUARE - DAY
Oleg and Emil stare at the bright lights - all the nonstop
action. Each stands with an old suitcase.
OLEG
(in Russian)
Look. Times Square. Just like in the
movies!
EMIL
(in Czech)
Don't speak Russian!
OLEG
(in Russian)
Why? Why do I always have to speak to
you in Czech?
EMIL
(in Czech)
Because I don't like your ugly language.
I heard enough of it in school! Now
speak Czech or English. And don't fool
around anymore. You almost got us
thrown out!
Emil pulls out an envelope with Milos' address on it. This
is who they came to see. Emil hails a CAB. Oleg is staring
inside a camera store - at himself on a monitor. A
videocamera's pointed out in the street.
OLEG
Look. New videocameras. Color
viewfinder. Image stabilization.
Solarization. Night vision.
EMIL
We have no money. Come on.
Oleg stares at the videocamera - dying to have one like this.
Emil slides into the cab.
CABBIE
Where you wanna go, buddy?
Emil pulls out the post-marked envelope. Points to the
return address on it and passes it through the slot to the
Cabbie.
EMIL
Here.
Emil looks out the window - no sign of Oleg. Then, Oleg
hurries out the camera store, gripping something inside his
coat. He flings both suitcases in the trunk, SLAMS it shut
and jumps in the back seat. He opens his jacket - pulling
out the VIDEOCAMERA he just stole.
EMIL (CONT'D)
Go!
Oleg smiles sheepishly at Emil.
EXT. SPANISH HARLEM - DAY
Eddie's car pulls up. Eddie, Leon and Hawkins get out.
HAWKINS
So what's unique?
EDDIE
Not what. Who.
Eddie passes Hawkins a Polaroid - of a woman on a bed -
covered in blood.
EDDIE (CONT'D)
He's from Antigua. His girlfriend was
taking too long to put her make-up on.
they were late for a party. Stabbed her
with a beer bottle.
HAWKINS
That's unique.
EDDIE
Yeah. And he still went to the party.
Leon moves to a LOOKOUT - gives him a twenty.
LOOKOUT
Top floor. Back room.
EDDIE
Yeah. I make big cases, they make the
news and I look good. But the problem
with becoming a star is downtown. They
shoot at stars. Now be quiet. Shhh.
As they reach the doorway - Eddie surprises two crackheads.
Waves them off. They hurry away.
EDDIE (CONT'D)
I hope this prick doesn't run. My knees
are killing me. Stay behind me.
HAWKINS
You're worried for my safety. I'm
touched.
Eddie flattens against the building - watches Unique descend
the fire escape.
HAWKINS (CONT'D)
Ready?
EDDIE
Keep them out of my way.
HAWKINS
Okay. You ready?
EDDIE
Yeah, yeah. Jesus.
Eddie closes in.
HAWKINS
(into his cell phone)
COME ON! COME ON! YOU FUCKING GUYS,
LET'S MOVE IT!
Unique is climbing down the fire escape - before he gets to
the bottom, Leon bursts through a door behind him and kicks
the fire escape, sending Unique flying into the alley. Where
he lands dropping his gun.
Eddie pulls him off the ground as Leon scoops the gun up.
EDDIE
What's your rush? Going to a party?
UNIQUE
Why you chasin' me, man?
EDDIE
I don't know. You always come outta
your house that way?
UNIQUE
It's not my house, man. I don't live
here.
EDDIE
Well, sounds like burglary to me.
Leon cuffs Unique who recognizes Eddie.
UNIQUE
I know you man.
An unmarked van comes tearing into the scene. Disgorges a
mini-cam team that starts filming but they missed the bust.
HAWKINS
(to Eddie)
Any chance we can do that again?
EDDIE
Again? I didn't wanna do it the first
time.
EXT. EAST SIDE - LATE DAY
The cab is in front of an old five-story brownstone. Oleg
gets the bags out of the trunk as Emil tucks the envelope
into his jacket, then steps up to the old building. He looks
back at Oleg - who's VIDEOTAPING him.
EMIL
Turn that off! Get the bags.
OLEG
Why should I carry your bag? I am not a
dog.
EMIL
For five years I paid for your
stupidness - you'll carry my bag for the
rest of my life if I say so.
(challenging)
Unless you refuse, Oleg.
Oleg looks at Emil. Even though Oleg is stronger than Emil,
he fears him. He picks up both bags. Emil searches the
occupant list over the buzzers to the apartment building.
EMIL (CONT'D)
There. 5RW.
Emil pushes ten of the buzzers except 5RW. A BUZZER clicks
and Emil pushes it open.
INT. MILOS' APARTMENT BUILDING - STAIRWELL - DAY
The brownstone has no elevator so Emil and Oleg climb the
stairs... Oleg cradling his camera. Emil notices a crack
pipe on the floor and picks it up. Smells the bowl.
OLEG
What?
EMIL
Smell like chemicals...for smoking
drugs.
Emil pockets the pipe and climbs to the top floor, moving
down the dirty hallway to a corner door.
INT. MILOS' APARTMENT BUILDING - HALLWAY - DAY
He KNOCKS...FOOTSTEPS approach. The door is opened by MILOS -
a 40-year-old Czech, dressed in stained plumbers overalls.
He is surprised to see Emil and Oleg in his doorway. Oleg
films him...
MILOS
Emil???!
EMIL
Surprise! Surprise!
Milos shoots a look across the tiny kitchen to TAMINA, his
comely wife.
INT. MILOS' APARTMENT - CONTINUOUS
Emil pushes his way inside. Oleg follows. Milos wears
plumbers overalls but Emil notices sports a Rolex. Tamina
has on a faded dress but despite their cheaply furnished
apartment she wears an expensive brushed gold necklace,
bracelet and big pearl earrings. The room is furnished with
kitsch from Disney World and Las Vegas. The only anomaly is
a HUGE SONY TRINITRON HOME ENTERTAINMENT CENTER. (The
following is in Czech and subtitled in English.)
EMIL
Your sister said she didn't know where
you were so you shouldn't write to her
with return address if you're hiding.
MILOS
Did you hurt her?
EMIL
You know me...I never hurt anybody.
Where's the money?
OLEG
Hello, Tamina.
Oleg is looking Tamina over. Milos - though scared - barks
at Oleg.
MILOS
Take your eyes off her, Oleg!
(to Emil)
Look. It wasn't my fault you two were
caught.
(of Oleg)
It's his fault. Trying to get the bank
clerk's phone number?! I wasn't going
to wait!!!
EMIL
Milos. Get my money!
Oleg videotapes the scene.
CLOSE ON AN AJAR DOOR
All we see behind it is a WOMAN'S FACE and her wet hair - she
obviously came from the shower and we see the towel wrapped
around her.
MILOS
(nervously)
We spent it!
EMIL
Ha. Ha.
MILOS
Look at the way we live. I'm a plumber.
You think I'd be working if I had
money?!
Emil, pissed, moves to a wood block and pulls out a KITCHEN
KNIFE. He grabs Tamina roughly, putting the blade to her
throat.
MILOS (CONT'D)
Emil. Put down the knife.
Milos looks at his wife - who is terrified.
MILOS (CONT'D)
Emil. I'll help you.
Milos closes the gap between him and Emil - trying to calm
him by talking softly.
MILOS (CONT'D)
I can get you a job.
EMIL
A job?
MILOS
Yes, the money is good.
EMIL
As a plumber?!
MILOS
It's easy to learn.
EMIL
A job?? As a plumber??? You think I
come to America to work!
MILOS
We started over, you can too.
EMIL
(furious)
You spent all the money while I was in
prison? Now you tell me to get a job
fixing toilets?!?
Emil pulls the knife away from Tamina - then angrily PLUNGES
it toward Milos' chest!
Oleg videotapes it. Then lowers the camera - shocked that
Emil killed Milos.
Blood sprays Tamina's face. She tries to run but Oleg grabs
her, not noticing her brushed gold bracelet falls to the
floor. He covers her mouth as he points the videocamera at
Emil who STABS Tamina - absolutely enraged!
THE WOMAN BEHIND THE DOOR
flees...Emil hears NOISE in the bedroom - a window opening.
Emil kicks the bedroom door open. Sees the window leading to
the fire escape. He dashes to it. Sees four flights down -
the WOMAN, wearing a summer dress. Barefoot. Her hair still
wet.
She looks up. She is beautiful and terrified. She runs
down the alley.
EMIL (CONT'D)
She saw!
Emil hurries toward the bathroom. She just got out of the
shower. Her underwear and purse are draped over a chair.
Emil grabs the purse. Finds a CZECHOSLOVAKIAN PASSPORT. He
opens the cover, stares at her photo and name.
EMIL (CONT'D)
Daphne Hanlova.
There's one stamp in the passport - from the U.S. when she
arrived - June 16, 1998. Underneath is written - 6 MONTH
STAY. Emil flips through the rest of the passport - all
blank pages.
EMIL (CONT'D)
Six month visa. Still here two years
later. They'll deport her if she goes
to Police.
Emil pockets Daphne's passport and wallet, scoops up her
shoes and jacket - enters the kitchen and dumps them on the
floor. He tears through the kitchen cabinets, throwing cans
and bottles aside.
OLEG
What are you looking for?
Emil finds nail polish remover - looks at the bodies.
EMIL
I'm going to make a bohemian barbecue.
Emil draws the kitchen curtains plunging the room into
darkness.
EXT. CENTRAL PARK - NIGHT
A face comes from the darkness. It's an athletically
handsome man, jogging out of a tunnel towards us. He's in a
tie and jacket in Central Park at NIGHT.
He is JORDAN (JORDY) WARSAW. A sensitive man of rugged
honesty. He runs down the hill in a hurry. A MUGGER steps
in his path.
MUGGER
Got any spare change? How 'bout a spare
twenty?
JORDY
Look, I don't have time for you, get out
of my way!!
MUGGER
Alright, how 'bout all your fuckin'
money?
The Mugger pulls a knife - and in a whirl of movement, Jordy
grabs his wrist and disarms him in a deadly, professional
manner - hurling him down to the pavement, twisting his arm
behind his back. With his other hand, Jordy whips out a
BROWNING 9MM from his shoulder holster and places it behind
the mugger's head. Jordy displays his shield.
JORDY
Okay, you're under arrest! Now you
happy?
MUGGER
Fire Department? Firemen don't carry
guns.
JORDY
Oh yeah? Guess again.
Jordy handcuffs the Mugger and searches the Mugger's coat
pockets - pulling out a handful of driver's licenses and
credit cards.
JORDY (CONT'D)
Nice - how many people you ripped off
tonight?! Get up!
As Jordy yanks the Mugger to his feet, his BEEPER goes off.
JORDY (CONT'D)
You couldn't listen to me, could you?
Jordy drags the Mugger to a tree. Cuffs him so his face is
pressed up against the bark.
JORDY (CONT'D)
I'll send a cop back for you.
MUGGER
Hey. C'mon, you can't leave me like
this. Some freak'll come by and stab
me!
Jordy jogs off across the park.
MUGGER (CONT'D)
Wait! Come back!!
EXT. MILOS' APARTMENT - NIGHT
FIRE TRUCKS from three battalions. Radios CRACKLE. There's
a crowd growing. Jordy pushes his way through. The top
floor of the brownstone where Milos and Tamina lived has been
reduced to smoking ruins. The trees are covered in debris
and soot. Jordy moves to LOUIE - Battalion Chief.
LOUIE
Lieutenant - take up your line and
relieve Ladder Company 60 on the top
floor.
JORDY
Hey, Louie, were you first due?
LOUIE
Yeah, I radioed you guys right away
'cause you got two roasts on the top
floor but you don't hafta investigate
cause homicide is up there.
JORDY
Homicide? Who let them up? I didn't
make it a crime scene yet.
LOUIE
Hey, it's Eddie Flemming.
KORFIN (O.S.)
Yo, Jordy!
BOBBY KORFIN - an overweight arson investigator with a quick
with and good sense of humor - comes over, pulling on a
turnout coat.
KORFIN (CONT'D)
Where you been, man? We got a
celebrity!
JORDY
I heard. Who the hell let them up
there?
KORFIN
I don't know, you think Eddie will give
me his autograph?
JORDY
You see anything in the crowd? Anybody
suspicious?
KORFIN
Naw - I'm sure the suspect's not here.
JORDY
Oh yeah, why?
KORFIN
'Cause Eddie woulda locked him up by
now!
INT. MILOS' APARTMENT - NIGHT
The roof is gone. The sky is exposed. It's charred ruins,
smoked beams and watery muck. Eddie and Leon are standing by
what's left of the mattress, looking at Milos and Tamina's
charred bodies. Eddie grips a half-smoked Cuban cigar,
listening to Leon.
LEON
So, it looks to me - from the sixty-nine
position - that they were doin' each
other but were so whacked out of their
heads they set the pipe on the mattress,
lit it up, and they got fried. What do
you think, Eddie?
Jordy enters - with Korfin who's carrying a paint can.
EDDIE
I don't know. We got the experts here.
Show them what you found - I hope you
don't mind, we came over to see if we
could help.
Korfin makes a beeline for Eddie - wanting to meet the
celebrity.
KORFIN
Nah, not at all. Detective Flemming -
Bobby Korfin. My Uncle Tony worked with
you at 2-1 back when you were a rookie.
JORDY
Could you put out the cigar? Part of
the job is picking up scents.
EDDIE
Oh, sure.
Eddie puts his cigar out. Carefully slides it into a cigar
holder and pockets it to finish later.
LEON
Well, I found - check it out - crack
pipe. Looks like they got careless.
Leon displays the pipe Emil found on the stairs. Korfin
shines the flashlight on Leon to look at the pipe.
LEON (CONT'D)
Mind not shining that light in my eyes?
KORFIN
Sorry, bro.
JORDY
Hey, that's great you guys got it all
wrapped up, but you don't mind if we go
through the routine? It gives us
somethin' to do.
EDDIE
No, we don't mind. You mind Leon?
LEON
No. Go ahead.
JORDY
Thanks. Appreciate it.
Jordy throws a look at Korfin. Homicide detectives have no
respect for fire marshals' investigative skills. Eddie
rummages through the apartment - moving into the kitchen and
living room... Leon watches as Korfin sticks a pencil in a
charred beam, measuring how deep in it goes.
KORFIN
Okay, Jordy - it was a fast fire, we got
good patterns - about thirty minutes
old.
Jordy moves to one of the corpses. He pulls on a white
rubber glove. Inserts his finger in the corpses mouth. The
glove comes out white.
JORDY
Mouth's clean, too.
KORFIN
Clean?
JORDY
Don't blow your nose!
Jordy's looking at Leon, who was just about to blow his nose.
JORDY (CONT'D)
The smoke'll permeate your nostrils -
burn 'em out. Let it run.
KORFIN
But you knew that, right?
Leon looks at Jordy, then lowers the handkerchief. Jordy
turns back to the corpses on the bed. Eddie - in the other
room - has found Tamina's brushed gold bracelet on the floor.
JORDY
So the way you see it, two crack heads
burned themselves up?
LEON
That's what it looks like to me.
JORDY
And while they're burning up, they're
still goin' down on each other? You got
to hand it to them.
LEON
(realizes he's wrong - blows it
off)
Yeah, well, some people got their
priorities straight.
Leon watches Jordy, quietly. With a pair of tweezers, Jordy
pulls a small unburned piece of cloth from behind one of the
heads. Korfin supplies the paint can. Jordy drops the cloth
inside.
LEON (CONT'D)
What was that?
JORDY
Evidence. Of a homicide.
That got Eddie's attention and he comes back to the bedroom.
JORDY (CONT'D)
You know what that is, right?
EDDIE
No, what is it?
JORDY
Why don't you explain it, Bobby.
(to a fireman joking a wall)
Hey Camello! You mind punching a hole
in the floor?
CAMELLO
No problem.
(to Eddie and Leon)
Excuse me, gentlemen. You might wanna
back up a little more. Don't wanna get
your pants wet.
Leon and Eddie move to higher ground - on top of a burnt TV
set. Eddie hands the brushed bracelet to Leon. As Camello
hacks at the floor with an ax, Jordy continues to examine the
bodies and Korfin explains:
KORFIN
They have not soot in their mouths,
which means they weren't breathin'
before the fire and that usually means
they were deceased - and this piece of
cloth that my partner found means they
were wrapped up in something, probably
doused with a flammable liquid and
positioned like this on the bed. To the
untrained eye, it looks like an
accident.
Jordy kicks around the draining floor, reaches down for
something.
LEON
What's he looking for?
EDDIE
A timer.
Jordy finds some wires attached to an outlet, pulls them up -
on the other end is a timer. Korfin takes the timer from
Jordy and moves to Eddie.
KORFIN
Here you go. A big double homicide.
EXT. MILOS' APARTMENT BUILDING - NIGHT
As Jordy and Korfin exit the brownstone, a CAMERA CREW is
arriving. Jumps out.
Korfin and Jordy cross toward Korfin's car. They open the
trunk. Take off their muddy boots throwing them in.
KORFIN
You see Eddie's face when I gave him the
timer? Wish I had a picture of it.
JORDY
He knew all along.
KORFIN
What??
JORDY
That's why he was so quiet. He was
testing us.
Eddie and Leon exit - Eddie carrying a baggie with a timer
inside. NICOLETTE KARAS, young and attractive, pushes her
microphone at Eddie. She's smart, aggressive and respected
by her peers.
NICOLETTE
Detective, does it look like a murder?
EDDIE
We don't know that yet. It's much too
early. There's a lot to be done.
NICOLETTE
How many victims are up there?
EDDIE
There are two bodies found at this
point.
NICOLETTE
Can we go up to the crime scene?
EDDIE
You know you can't do that. C'mon.
NICOLETTE
Is it drug related?
EDDIE
We don't know. When I have more I'll
let you know.
Nicolette signals for her camera man, MIKE, to zoom in on
Eddie's hand. She barrels on...
NICOLETTE
Detective...what's that you're holding
in your hand? Evidence?
Mike pans up to Eddie's face. Other reporters arrive,
hurling questions which Eddie easily answers. Cameras flash
as we PAN BACK TO Korfin and Jordy. Jordy is about to get in
the car as he notices, back behind some construction - DAPHNE
HANDLOVA. She's still wearing the crumpled summer dress.
She tentatively steps out to signal Jordy. He only catches a
glimpse of her. He starts toward her -- knifes through the
crowd - but Daphne is gone.
KORFIN
What?
JORDY
There was a woman - I think she wanted
to talk to us. She looked scared. Oh
shit! Oh no!
EXT. CENTRAL PARK - LATER
Korfin's car SCREECHES to a stop. Jordy leaps out.
Suddenly, Jordy stops...the Mugger handcuffed to the tree is
now NAKED!
MUGGER
You motherfuckin' bastard! She stripped
me! It was a bag lady! She touched me
all over, it was disgusting.
Jordy unlocks the handcuffs.
JORDY
I'm sorry. I'm really sorry.
Korfin delivers a blanket. Jordy covers him.
JORDY (CONT'D)
You okay?
MUGGER
A dog pissed on me!! I'm gonna sue you
for this! You violated my civil rights!
JORDY
Your civil rights?! You tried to rob
me! I could arrest you right now!
You're lucky you're walking away from
this. Now get outta here.
Jordy gives him a push. The Mugger wraps the blanket around
himself cursing - hurrying away.
EXT. 8TH AVENUE - NIGHT
Exhausted HOOKERS who have worked all night loiter outside a
sleazy hotel. CAMERA PANS up to a blinking hotel sign.
INT. KING EDWARD HOTEL ROOM - NIGHT
The light is blinking an eerie green and yellow light into
the room. Emil is at the window pulling the blind down
trying to shut out the blinking light. He pulls it down
twice and it pops back up both times. The third time he
angrily pulls it so hard, it comes off the window completely.
He sits down in a chair in frustration - adjusting a pillow
behind his back. THE ROSEANNE SHOW is on TV. Roseanne has
been talking to a FATHER.
ROSEANNE (ON T.V.)
So you slept with your son's wife!
What's that all about?
FATHER (ON T.V.)
I take full responsibility for sleepin'
with my daughter in law. I had low self
esteem, I thought I had to compete with
him.
Emil reaches for his dictionary.
EMIL
(mutters)
Self-esteem? Self-esteem??
He flips through his dictionary to find the meaning of self
esteem.
FATHER (ON T.V.)
Losin' my job and everything, caused my
behavioral disorder.
(turns to his son)
Forgive me, Kirk. Let me hug you?
The audience boos. Roseanne mediates...
Oleg - fresh from the shower with wet hair - sits on the bed
in his skivvies - staring into the videocamera's LCD screen -
rewinding Milos' murder. We see it now for the first time -
as he rewinds it. Oleg watches - a bottle of cheap vodka
between his legs. Emil, looks up from his dictionary. He's
wearing Milos' Rolex.
Tamina's jewelry - her brushed gold necklace and pearl
earrings - are in front of him with Daphne's wallet. Emil
looks up - Oleg is holding his videocamera.
EMIL
(Czech)
Turn that fucking thing off!
OLEG
(Czech)
I'm not filming. I'm watching Milos
die. It's just like a move but realer.
Emil grabs the videocamera.
(Czech)
Don't break it! Don't break it!
EMIL
Speak English!
OLEG
(English)
You said speak Czech!
EMIL
How you erase this?
OLEG
I'll do it. Don't hurt my camera!
Emil tosses the camera back to Oleg who drops his vodka
bottle in order to catch the camera. Oleg, holding the
camera like it's gold, goes to the dresser and puts it away.
Emil starts to go through Daphne's wallet.
EMIL
Stupid, Milos. I didn't want to kill
him.
(noticing)
What's this?
Emil found the last card in the wallet. It's pink with a
picture of a busty globe. Printed in the middle is - WORLDLY
ESCORTS - and a number.
EMIL (CONT'D)
Worldly escorts?
Emil picks up his dictionary and begins to flip the pages -
finding the meaning of worldly. He gets up and dials the
number. A soft, SEXY VOICE answers. Soft music in the
background.
SEXY VOICE
Hi?
EMIL
Hello?
SEXY VOICE
Are you looking for companionship?
Oleg, who's listening, moves to Emil.
OLEG
Whore?
EMIL
I'm homesick. You have Eastern European
girl? A Czech girl?
SEXY VOICE
Matter of fact, I have a lovely Czech
girl.
EMIL
I take her. Send her!
EXT. FIRE STATION 91 - NIGHT
Korfin's car pulls up to the station - as a fire engine is
returning.
JORDY
Now that you know him, maybe you can get
extra work in the next movie they make
about him.
KORFIN
Yeah?
JORDY
Maybe you can be his stand-in.
INT. FIRE STATION 91 - NIGHT
The men are pulling off their equipment - coming down from
the high of fighting a fire. Korfin and Jordy walk toward
the TV room. The TV is on in the background. We can see
Nicolette interviewing Eddie. He holds up the paint can.
CHIEF DUFFY (O.S.)
What the hell is that?? You gave Eddie
Flemming the evidence?!
They turn. DEPUTY CHIEF FIRE MARSHAL DECLAN DUFFY - the head
of the arson squad - comes over. Duffy's tough, Irish and
very political.
DUFFY
(pointing to the TV)
Who did cause and origin?
JORDY
Who do you think, Chief?!
DUFFY
Then why didn't you talk to the
reporter?
JORDY
'Cause we got more important things to
do, like finding out who did it.
They walk to the back of the station and start up the stairs.
DUFFY
Don't you guys understand? It's all
about image. The better we look the
more money I get to pay you guys
overtime.
KORFIN
Yeah, right.
DUFFY
What was that, Korfin?
KORFIN
I said, yeah, you're right, Chief. As
soon as we get somethin' we'll let you
alert the media.
DUFFY
You do that, wiseguy. Now let's solve
this thing before Eddie Flemming does.
They all head upstairs.
INT. ARSON SQUAD ROOM - DAY
The Chief, Jordy and Korfin enter. There are posters of
pyros, arsonists and terrorists on the walls. GARCIA - a
Puerto Rican investigator - looks up from his desk.
GARCIA
Hey guys, I got your torch. He just
gave a full confession.
A scruffy, unshaven white man sitting across from Garcia,
turns. He is MAX, a pyromaniac in his 40's with a freshly
scratched cross etched in his forehead. He craves attention.
MAX
It's my fire! Screw homicide. I'll
tell you guys everything!
Jordy moves to his desk with Korfin. They sit across from
each other. Duffy keeps going to his office, not even
bothering to stop.
JORDY
What's that on your forehead, Max?
That's a nice attention getter.
MAX
Yeah, I'm religious. I'm not an Atheist
like you! Now, are you guys gonna
arrest me, or not?
JORDY
How did you start the fire this time?
MAX
I used an accelerant.
JORDY
Yeah? What kind?
MAX
(to Jordy)
Hey, by the way, I'm really sorry about
your wife leavin' you.
KORFIN
Max.
MAX
(continuing)
...Yeah, and with your old man dying
last year you - what's it? Just you and
the dog now?
KORFIN
Max!
MAX
Does it feel bad - I mean the new guy
your ex-wife's seeing - I hear he's a
big shot downtown.
Jordy pops out of his seat.
JORDY
That's it! You're outta here.
Jordy pulls Max by the collar - pushes him down the aisle.
MAX
That's it. I'm suing.
KORFIN
Get in line.
Korfin takes over - throwing him out. Jordy turns to Garcia
who is laughing.
JORDY
What's so funny. How does he know so
much about me? Who tells him my life
story?
GARCIA
He hangs around downstairs. The guys
talk to him. He's a joke...
JORDY
He's no joke! One day he's gonna
graduate from trash can fires and do
something big.
GARCIA
Okay. Okay. We'll ban him from the
station.
INT. KING EDWARD HOTEL ROOM - TV SET - NIGHT
As the "Top Story" logo is splashed across the screen,
accompanied by a catchy TV THEME, Robert Hawkins introduces
America's highest rated 'news magazine' show.
ROBERT HAWKINS
Good evening, I'm Robert Hawkins and
this is Top Story. Tonight we bring you
an exclusive interview with Stephen
Geller - who horrified the nation two
years ago when he went berserk and
murdered three clerks in a Manhattan
shoe store. But now, Mr. Geller's
claim, spoken softly and articulately,
is that he is the victim. According to
Mr. Geller, the events of that fateful
day were not his fault but were the
fault of his psychiatrist. Hard to
believe...watch.
EMIL (O.S.)
Louder.
VIDEOCAMERA SLOWLY ZOOMS OUT and PANS over to Emil, sitting
on the hotel bed watching the TV. He looks at us.
EMIL (CONT'D)
Louder.
Oleg's hand reaches in front of the lens - turning up the
volume. The scene cuts back to Stephen Geller being
interviewed by Robert Hawkins and his camera crew. He's
sitting on the front lawn of a mental institution in a paint
stained shirt. A showing of his artwork is displayed in the
background. Patients peruse the paintings of weird
dysfunctional faces that avoid eye contact. One of the
paintings depicts Eddie Flemming and Leon Jackson.
STEPHEN GELLER
This had nothing to do with shoes that
didn't fit or my relationship with my
father who, as you know, made a fortune
selling penny loafers in the fifties.
These people died because of the
criminal actions of my doctor.
ROBERT HAWKINS
Your doctor?
STEPHEN GELLER
Yes. My psychiatrist didn't insist that
I stay on my medication.
ROBERT HAWKINS
...so you feel absolutely no
responsibility for killing these people?
STEPHEN GELLER
It was my finger that pulled the
trigger, but I'm not morally
responsible. My psychiatrist knew what
I was capable of. How could I know.
I'm not a doctor.
ROBERT HAWKINS
You seem very savvy for a man who's been
found mentally incompetent to stand
trial.
STEPHEN GELLER
Look, I'm a victim here, too. I was a
year away from getting my masters in
Art, now I'll never graduate. My life
has been permanently disrupted.
ROBERT HAWKINS
Permanently disrupted? Aren't you
selling paintings now for quite a lot of
money? Hasn't this 'incident' as you
call it, jump started your career as an
artist?
STEPHEN GELLER
Look, I'm in here. You call this a
career move?
ROBERT HAWKINS
And isn't there a movie in the works
about you?
STEPHEN GELLER
We're in negotiations, that's correct.
ROBERT HAWKINS
But doesn't the Son of Sam Law prevent
criminals from profiting from their
crimes?
STEPHEN GELLER
That doesn't apply to me because I'm not
a criminal. I'm not a criminal! I
wasn't convicted.
Emil leans forward - listening. Fascinated.
EMIL
I love America. No one is responsible
for what they do.
There's a KNOCK on the door. Our VIDEOCAMERA POV swings over
to it. Then WHIPS back to Emil. Emil looks at us.
EMIL (CONT'D)
Get in the bathroom!
OLEG (O.S.)
Whatever we do - we fuck her, right?
EMIL
Oleg, get in bathroom, stay there and
shut up!
Emil turns off the TV. Our POV backs into the bathroom,
closing the door but leaving it open a crack. Emil looks
down at his shoe. The POV PANS down to the kitchen knife
sticking out of Emil's BOOT. Emil's hands pull his pants
cuff over it. POV PANS up to Emil as he moves to the door
and opens it. It's not Daphne and she's not world class.
HONEY
Hi, I'm Honey.
EMIL
Where's Czech girl?
HONEY
Baby, I'm anybody you want me to be.
I'm a little schoolgirl, I'm mommy, I'm
a Czech girl.
She enters. Closes the door behind her.
HONEY (CONT'D)
Now I like to get business out of the
way before we get down to pleasure. Why
don'tchya put my money on the dresser.
EMIL
I ordered a Czech girl. Daphne, you
know her?
Oleg ZOOMS in for a CLOSE UP of Honey. During the rest of
the scene Oleg films her. Honey begins to undress.
HONEY
It's an outcall service run out of an
apartment. I don't meet the other
girls. Aren't you gonna get undressed?
EMIL
Where is escort service?
HONEY
That's confidential. Could you put the
money on the dresser?
EMIL
I like to talk to the person who runs
the service. Can you give me address?
HONEY
Look. Do we have a problem here?
There's no reason to have a problem.
I'm gonna make you feel real good. You
wanna Czech girl?
After I'm done with you, you won't miss
her. Now why don't you pay me?
She starts to unfasten Emil's belt.
EMIL
(stopping her)
Listen to me. I don't want sex. Just
give me the address and then you go.
HONEY
(suddenly hard as nails)
Look, man, I don't give a shit if you
want sex or not, but you're payin' for
my time.
Emil pulls the knife out of his boot and SHOVES her against
the door, PUSHING the blade against her throat - suddenly
furious like he was before killing Milos and Tamina.
EMIL
Give me the address!!
HONEY
Alright, alright - don't hurt me!
Please, it's in my book, in my purse!
Emil backs off as she reaches for her purse, and comes out
with a can of mace, SPRAYING Emil's face!
Emil stumbles backwards - Oleg holding him in the frame. He
WHIP PANS back to Honey as she grabs her clothes, unlocking
the door but Emil's HAND SLAMS it shut! Emil turns blindly,
rubbing his burning eyes - guarding the door. Honey darts
toward the bathroom - she pushes open the door and runs into
Oleg who is VIDEOTAPING HER. Horrified, she turns around as
Emil SMASHES her in the face so hard she topples backwards,
tripping into the bathtub, pulling the shower curtain down on
her! Like a panther out for the kill, Emil POUNCES. Oleg
films as Emil lifts his hand, gripping...
THE KITCHEN KNIFE
As Emil's hand comes FLYING DOWN - then RISES UP, BLOODIED.
Her screams are muffled by the shower curtain wrapped around
her face. Oleg films the scene as the knife plunges DOWN
INTO:
INT. FIRE STATION 91 - ARSON SQUAD ROOM - NIGHT
DAPHNE, a sketch of her face.
JORDY (O.S.)
Her lips are fuller than that. You can
see 'em a mile away.
WIDER
Food containers are scattered all over the place. The female
COMPOSITE ARTIST looks at Jordy. Stacks of failed sketches
sit beside her.
COMPOSITE ARTIST
What about her cheek bones?
JORDY
Her cheek bones are prominent and her
eyes were huge. Big, blue eyes and when
I saw her, she looked scared. Like she
was looking to get away. But she was
absolutely beautiful.
The composite artist looks at Jordy.
JORDY (CONT'D)
I gotta good look at her.
Korfin has his chair turned around from his desk and is
watching the sketch evolve as he speaks on the phone to the
landlord of the 7th Street brownstone. Garcia is also on the
phone. The other investigators are gone. Working late into
the night. Everybody's exhausted. It's almost dawn.
KORFIN
-- From Czechoslovakia? And how long
have they been livin' in your building?
(writes 4 YEARS on his pad)
Alright, I'll be in touch when we know
somethin'.
(to Jordy)
Milos and Tamina Karlova. They were
quiet and kept to themselves. Landlord
don't know who your girl is.
JORDY
How long they been livin' here?
KORFIN
You hear that question, Garcia?
GARCIA
Yeah, I got Immigration on the phone -
they've been here illegally.
KORFIN
Well, they're definitely permanent
residents now.
GARCIA
I got the owner of the plumbing company
Milos worked for.
KORFIN
Why don't we get some sleep and we'll go
see him in the morning.
JORDY
You go home. I'm takin' your car and
goin' back to the crime scene.
KORFIN
Aren't you tired?
JORDY
If I go home I won't be able to fall
asleep anyway.
Jordy takes the sketch of Daphne which isn't a bad likeness
and heads for the door. Korfin falls in behind him. As they
pass Garcia he hands Jordy the address.
KORFIN
(of the picture)
She keepin' you up? Like to meet her,
huh? She'd make you forget your ex
wife. Cure your insomnia.
INT. MILOS' APARTMENT - DAWN
CAMERA DESCENDS FROM THE SKY picking up Jordy as he enters
what is left of Milos and Tamina's apartment. The roof has
been burned off. He moves into the next room, trying to see
through the darkness - looking through the muck and char.
EDDIE
Okay to smoke?
Jordy turns, surprised. Eddie sits on a singed chair. He
pours from a half-pint bottle of vodka into his 'won ton
soup' container, smoking a cigar. On the arm of the armchair
is a brown legal folder and stacks of photographs of the
crime scene and the burned bodies.
JORDY
It's your crime scene now. You can do
what you want.
EDDIE
Watch the news?
JORDY
Nah, I musta missed it.
EDDIE
Well, just so you know. I gave you guys
the credit.
JORDY
Well, just so you know, I don't care
about that stuff.
EDDIE
Nah, why should you?
JORDY
I don't even watch TV.
EDDIE
Good. Good. Commendable.
Eddie knocks his 'won ton soup' back.
JORDY
Did you get a report from the M.E.?
EDDIE
Sure. But I would like to ask you
something. You got a problem with me?
JORDY
If you found me steppin' on your crime
scene - it might piss you off, too.
(then)
What about the report?
EDDIE
You were right, they were both dead
before the fire. The male was stabbed
so hard the killer broke off the tip of
the knife in his spine. That's usually
an indicator of something personal.
Jordy pulls out a sketch of Daphne. Hands it to Eddie.
JORDY
The Super said he'd seen her before but
she didn't live here.
EDDIE
Pretty.
JORDY
(acts as if he didn't notice)
Hmmmm.
EDDIE
Maybe you don't care about that either.
(beat)
Prettiest suspect I've had in awhile.
JORDY
Who says she's a suspect?
Jordy tries to take the sketch back. Eddie holds on.
EDDIE
What would you call her?
JORDY
Look, I'm not even sure she has anything
to do with this. I saw her outside
after the fire - thought it was a lead.
Maybe she saw something. Maybe she was
visiting somebody here. Who knows?
Eddie walks up to the burnt mattress - where the bodies were.
EDDIE
Obviously they weren't having sex. As
you pointed out. So why go through all
the trouble of putting 'em like that?
Eddie passes a crime scene photo of the bodies to Jordy.
JORDY
Maybe it's a ritual thing or someone
trying to send a message. Burial rites
are taken very seriously in Eastern
Europe. It could be to humiliate them.
Just burning them up, no proper funeral,
it's like condemning them to hell.
EDDIE
Eastern Europe. Like what? Romania?
Hungary?
JORDY
Or Czechoslovakia. The Slavs have been
fighting the Germans and the Russians
for a thousand years. These are very
intense people and they take things
personally.
Eddie's cellular rings - he grabs it.
EDDIE
Yeah? Where? You sure it was a knife?
Uh-huh. Really? Okay.
(to Jordy)
We've got another murder - in a hotel on
Eighth Avenue. A stabbing. Clerk said
the room was rented by a Russian...
Eddie's moving with Daphne's sketch.
JORDY
I'll come with you.
EDDIE
There wasn't a fire. There'll be
nothing for you to do.
JORDY
I can watch you, Eddie. Maybe I'll
learn something.
EDDIE
This isn't homicide school.
JORDY
My parents are from Poland. I can help
with the Eastern European angle.
EDDIE
You're Polish?
JORDY
My folks are.
EDDIE
Stay here.
EXT. TIMES SQUARE - NEWS STAND - DAY
Video POV of the news stand as a hand reaches into frame and
picks up a copy of THE NEW YORK POST. Eddie's photo is on
the front page - holding the kitchen timer by the wires.
Underneath his picture the caption reads, "DOUBLE HOMICIDE...
FLEMMING'S ON IT." The videocamera widens out revealing Emil
standing in front of a Times Square news stand, reading the
front page. The videocamera turns around - until focusing on
Oleg himself.
OLEG
This is second day in America. First
day was very exciting. Full of thrills
and chills. Over there, is co-star of
my new movie, Emil!
He turns the camera around - FILMING EMIL.
EMIL
(to vendor)
Who is he?
VENDOR
New York's finest. This is his case.
The VENDOR - picks up People. Stephen Geller is on the
cover.
VENDOR (CONT'D)
This all you want?
EMIL
Do you know how much killer gets for
movie rights?
VENDOR
(People)
In here, says he wants a million.
EMIL
Million?! The killer gets one million
dollars for a television interview?
VENDOR
Hey, tabloids paid Ted Bundy - famous
serial killer - half a million for his
interview. And how much you think
Monica got for writing book about the
President coming on to her? It pays to
be a killer or a whore in this country.
Look, you want magazine or not?
EMIL
Yes. Both.
OLEG
And these.
Oleg picks up FILM COMMENT, MOVIELINE and PREMIERE magazine.
Emil pays for everything.
EMIL
(to Oleg)
Get a taxi.
Oleg tucks the magazines in his coat, picks up the suitcases
and hails a taxi. As Emil collects his change he sees an old
BLIND WOMAN waiting at the crosswalk. The light's blinking
WALK.
EMIL (CONT'D)
Let me help.
Emil gently takes her arm and crosses her to the other side.
BLIND WOMAN
Thank you, son.
Emil watches her walk on.
INT. KING EDWARD HOTEL ROOM - DAY
The hotel room is a hive of activity. GIL is dusting the
dresser for prints. Another officer is stripping the bed and
putting the bedding into a big, clear plastic bag. As Eddie
enters the crime scene, a POLICE PHOTOGRAPHER is standing in
the doorway taking pictures.
EDDIE
Where is she?
LEON
Takin' a bath.
EDDIE
Any I.D.?
LEON
Still unknown but we're running prints.
Kid over there caught the case.
Jordy enters. Leon steps in his way.
LEON (CONT'D)
Sorry...PD only.
EDDIE
It's okay.
Eddie walks over to a young detective. TOMMY CULLEN, only
26, is excited to meet Eddie.
TOMMY
Tommy Cullen. Heard a lot about you.
Nice to meet you. Here's what we got.
A girl in there, figure her to be a
prostitute, looks like she was fighting
for her life. She's got defense wounds
on her hands. Right this way - in the
bathroom.
EDDIE
After you.
Eddie follows Tommy into the bathroom. There's blood
splattered all over the walls and the floor. Honey's topless
body lies in the tub tangled in the bloody shower curtain.
MURPHY, an Irish medical examiner (M.E.), is examining the
body.
TOMMY
Room was registered to a Francis Capra.
JORDY
Capra? That's not Czech or Russian.
Who said he sounded Russian?
TOMMY
The clerk?
EDDIE
Check the switchboard, see what phone
calls were made from this room.
TOMMY
I'll do it.
Tommy heads out. Eddie takes out his cigar holder. Slides
out what's left of his cigar. Re-lights it. Looks down at
Honey's body in the bathtub. Gil's dusting the tub for
prints.
MURPHY
Clothes were off in the other room. Tub
is dry except for the blood.
EDDIE
Any of you guys take a piss lately?
Gil looks confused. Eddie points to the toilet. Seat is up.
EDDIE (CONT'D)
Do the seat for me.
Gil crosses to the toilet and starts to dust it. Eddie
stands in the bathroom - studying the scene. Holding the
unlit cigar. Looking around at the blood splattered walls.
EDDIE (CONT'D)
Only one guys checked in?
LEON
Yeah.
EDDIE
C'mere. You wanna go to homicide
school? Here - make yourself useful.
Eddie positions Jordy behind the tub next to the wall.
EDDIE (CONT'D)
Our killer...our killer's standing here
slashing at her. She's fightin' him.
The blood is splattering this way. It's
on this wall...
(pointing to the right of
Jordy)
And there's some specks over here.
(to the left of Jordy)
There's nothing here because someone was
standing right here. Someone big. And
he's got blood on him. Lots of blood.
He wouldn't walk out of here like that.
(turning to Murphy)
Murphy, what kind of knife you think
we're talking about here?
Murphy pulls out a clear plastic ruler and walks over to the
blood-splattered wall.
MURPHY
If you look here where he missed and hit
the wall you see that the marks aren't
deep but they're kinda wide... not your
everyday kitchen or pocket knife.
EDDIE
What if the tip was broken off?
MURPHY
Could be. Then we should find it here
somewhere.
EDDIE
I think we've already found it.
Eddie exchanges a look with Jordy as Tommy, the young
detective, returns.
TOMMY
There was only one call from this room
last night. I dialed it. It's an
escort service.
LEON
Did you identify yourself?
TOMMY
Hey, I'm new but I'm not stupid.
EDDIE
Call communications and get an address
on that number.
Tommy holds up a slip of paper with the outcall service
address on it.
EDDIE (CONT'D)
Good work.
INT. KING EDWARD HOTEL ROOM - STAIRS - DAY
Jordy hurries out - catches up with Eddie.
JORDY
You goin' to the escort service?
EDDIE
You got any better ideas?
JORDY
Mind if I ride along with you?
EDDIE
This has nothing to do with your fire.
JORDY
But what if it does? You might need my
help.
As Eddie exits the hotel, a MAN approaches.
MAN
Hey, Eddie, can I get your autograph for
my son?
EXT. KING EDWARD HOTEL - DAY
Jordy catches up. Eddie finishes signing the autograph using
the man's back.
EDDIE
I'll let you know what happens.
JORDY
This is ridiculous. I'm not gonna be in
your way - we can talk the case over.
EDDIE
Tell you what - I'll flip you a coin.
If you win you can come with me. If you
don't win, you don't come.
JORDY
I'll call it... tails.
Eddie pulls out a coin and hands it to Jordy.
EDDIE
Okay. I'll call it. Heads.
Jordy flips the coin and it's heads.
EDDIE (CONT'D)
Heads. See, you lost twice.
(beat)
Okay. Get in.
Jordy goes for the passenger side of the car. Before Jordy
can get in, Eddie starts to pull away. Jordy stands on the
sidewalk - dejected. Eddie stops the car again and this time
lets Jordy get in.
WHIP PAN TO:
INT. UPPER EASTSIDE HALLWAY - DAY
Eddie and Jordy arrive in front of Rose's door. Eddie knocks
and flips a coin to Jordy.
EDDIE
Oh here. A souvenir.
Jordy takes the quarter. Not understanding what Eddie means.
He looks at the quarter.
JORDY
Two heads.
EDDIE
Better than one.
Eddie suckered him with the coin toss. Jordy reacts. Eddie
laughs - squirts Binaca in his mouth. Knocks again. We hear
ROSE HELLER.
ROSE (O.S.)
Who's there?
EDDIE
Police. We'd like to ask you a few
questions.
ROSE (O.S.)
I have nothin' to say. If you wanna
contact my attorney...
EDDIE
(commands)
Homicide, Miss Hearn. It's Detective
Eddie Flemming. Open up.
Rose reacts. Immediately UNLOCKS, UNCHAINS and opens the
door!
ROSE
You! I've seen you on TV!
Eddie glances self-consciously at Jordy.
ROSE (CONT'D)
C'mon in. C'mon in!
INT. ROSE'S APARTMENT - DAY
They enter.
ROSE
Just a minute. Shit. And I don't have
a camera. Hold on a second.
Rose moves back to the phone - finishes up her conversation
in Afrikaner. We hold on Eddie and Jordy at the door. Eddie
looks around - taking in the place. FOUR GIRLS are on
phones. Two girls take orders for customers. The other two
work the phone sex lines. Rose hangs up the phone - turns to
Eddie and Jordy:
ROSE (CONT'D)
What's wrong?
EDDIE
We don't have her I.D. yet, but one of
your girls was killed last night at the
King Edward Hotel.
ROSE
Oh my G-d. Honey! Honey's dead?
JORDY
Do you remember the man who called?
Though Rose answers Jordy, she directs her response to Eddie.
ROSE
Yeah. He wanted a girl from
Czechoslovakia, but I sent him Honey
'cause once they get there, you know, it
doesn't really matter - Honey was
killed...? Poor girl...
EDDIE
Do you have any Czech girls working for
you?
ROSE
No.
EDDIE
Did you tell him you did?
A BUTCH GIRL enters. Rose speaks to her in Afrikaner.
ROSE
(Afrikaner)
Boy, she's so popular all the sudden.
EDDIE
What are you saying?
ROSE
Daphne. Another guy came in asking me
about her, too.
Jordy pulls out the sketch, unfolds it.
JORDY
This her?
ROSE
Yeah. Sort of. I tried to recruit her,
gave her my card. She said she'd think
about it but I never heard from her.
BUTCH GIRL
(Afrikaner)
Beautiful eyes.
EDDIE
Who came by looking for her?
ROSE
He said he was her cousin. I told him
where she works. They were just here.
EDDIE
Describe him.
ROSE
Tall, short-haired, scary eyes. Second
guy with him was...shorter, with a
wrestler's build. And he wouldn't turn
his videocamera off me.
EDDIE
He had a videocamera? Where is she?
Quickly!
ROSE
She washes hair up at Ludwig's - a salon
on 63rd and Madison.
EXT. EDDIE'S CAR - DAY
As Eddie speeds through the street, SIREN BLARING.
INT. EDDIE'S CAR - DAY
Jordy holds on as Eddie darts in and out of cars with
astonishing dexterity. This man can drive. Eddie picks up
his phone - dials. Jordy is on his cell phone as well.
EDDIE
Leon - meet us at 63rd and Madison.
Hair salon. Ludwig's.
JORDY
(overlapping)
I'm on my way with Eddie. Ludwig's.
63rd and Madison. The suspects might be
there already.
Eddie looks over as Jordy disconnects. Eddie picks up a beer
he was holding between his legs - finishes it.
EDDIE
You thirsty?
JORDY
I'm on duty.
EDDIE
(drinking)
So am I. Alright, I'll go inside and
you cover the back.
JORDY
Of course.
EDDIE
Hey! I always wanted to be a cop when I
was a kid. I dreamed of running up to a
door, kicking it in, pulling my gun and
yelling 'Freeze!' at the bad guy!
What'd you dream about?
JORDY
I wanted to run up to a building on
fire, kick in the door, rush into the
smoke and save a kid.
EDDIE
Then I guess we're doin' this the right
way, aren't we? If we pull up to a
burning building I'll gladly let you go
first.
Jordy looks at Eddie - can't deny he's right.
INT. LUDWIG'S SALON - DAY
We're in a moving video POV of Ludwig's, the hair salon -
it's big and spacious. The lens finds THE RECEPTIONIST.
OLEG (O.S.)
Daphne Handlova?
RECEPTIONIST
Daphne? In the back. Probably
shampooing a customer's hair.
Oleg approaches Daphne who is mixing hair dye. LUDWIG, the
owner, is with her.
LUDWIG
Why are you messing with your hair color
again? You're going to kill your hair.
You won't look good with black hair.
DAPHNE
I want to do it, alright?
LUDWIG
Well, then do it after work. A
customer's waiting.
He leaves, a customer approaches. She smiles at him - turns
on the water in the sink then sees - Oleg filming her. She
backs up...suddenly moves to the emergency door!
TO THE BACKYARD
There's a garden out there. Daphne runs toward the alley.
Oleg follows her - still videotaping. As she rounds the
corner she bumps into...Emil! He pulls out his kitchen
knife, shoving her against the wall, pushing the blade with
the broken tip against her throat.
EMIL
I...I have a temper.
She looks at him, not understanding. Oleg films the scene.
EMIL (CONT'D)
When I lose it, I lose control. I
didn't intend to kill Milos but he stole
from me. Cheated me! When I went to
prison, they beat me. I still didn't
tell he was my partner. I loved Milos
like a brother...
The tone in Emil's voice - there's an uncharacteristic
softness to it. He wants to reconcile his behavior to her.
EMIL (CONT'D)
(in English)
I'm not a killer.
The back door opens. He shoves the knife in his pocket as
Ludwig peers around the alleyway. What he sees is Emil
leaning close to Daphne, kissing her.
LUDWIG
Daphne, will you be coming back to work?
DAPHNE
In a minute, Ludwig.
Ludwig leaves.
EMIL
Smart girl. I'm glad you're not a
whore. But washing hair? This is no
job for a woman as beautiful as you.
They should be washing your hair.
Emil reaches into his pocket and pulls out SOMETHING, sticks
it in the palm of her hand, closing her fingers around it.
EMIL (CONT'D)
I don't want to kill you. But if you
talk, I will.
(whispers)
I thought you'd want these.
He taps her hand...he turns and goes out the rear exit. Oleg
follows. Jordy arrives.
JORDY
...Daphne?
She says nothing.
JORDY (CONT'D)
I'm a fire marshal. You remember me
from the other night? You are Daphne,
right?
She says nothing. Eddie arrives. Daphne turns. Recognizing
Eddie.
EDDIE
You don't have to be afraid. We're here
to protect you. Come with me. We want
to talk to you. You speak English
alright?
Eddie looks at Jordy. Takes Daphne by the arm.
EXT. LUDWIG'S SALON - CONTINUOUS
As they come out, Eddie notices Daphne clutching something in
her hand. He reaches for her hand. Opens it. It's a
brushed gold necklace.
EDDIE
Did he give you these? Was he just
here?
Eddie searches the streets. Notices Oleg and Emil on the far
corner. Oleg is videotaping him. Leon and Tommy pull up.
Korfin behind. They all pop out. Eddie grabs Leon -
squeezes his arm - quietly.
EDDIE (CONT'D)
The other side of the street. The guy
with the videocamera.
(back to Jordy)
Don't look - put her in the car.
(to Leon)
Stay this side.
LEON
(back to Tommy)
Stay with her.
They start heading down the curb - trying not to attract the
attention of Oleg and Emil.
A VIDEO CLOSE-UP
of the scene from across the corner.
EMIL
(Czech)
Put the fuckin' camera down! Let's go!
Emil starts to flee.
EXT. NYC STREETS - CONTINUOUS
What follows next is an incredible foot chase with Eddie,
Jordy, Korfin and Leon running through traffic - chasing
Emil. Eddie tries to stay in the lead but is running out of
breath.
EDDIE
Split up!
Jordy runs down one side of Madison - Eddie, the other.
Korfin continues down 62nd and Leon covers the other side.
They search for Emil, grabbing people, turning them around,
missing him. Emil seems to have disappeared.
Leon, gun raised, approaches the cafe. As he rounds the
corner, Emil darts out, cracking Leon across the face! Leon
crashes into a table, dropping his gun. Emil scoops up the
gun and PISTOL-WHIPS Leon. BEATING the detective to a pulp.
People are running from the scene. Emil takes Leon's wallet.
He is distracted by LAUGHTER. Oleg is VIDEOTAPING the scene.
OLEG
Emil, look!
Oleg swivels with the videocamera. Korfin is running toward
them - pushing through the crowd. Emil FIRES! Korfin is
blown backwards.
OLEG (CONT'D)
Perfect! Cut. Print!
Eddie arrives. Bends down to Leon, whose face is red with
blood. Jordy runs to Korfin, who's laying in the street,
shot in the side. Jordy cradles his partner.
EDDIE
Are you hit?
LEON
No. I'm okay.
JORDY
(to Korfin)
Bobby, Bobby! Where're you hit?!
KORFIN
It hurts. Aw, Jesus!
JORDY
Lay down. Stay down, Bobby.
Jordy looks up as Eddie steps into the center of the street.
Cars screech out of the way! Eddie crouches, taking aim at
Emil, who is almost two blocks away. It's an impossible
shot, out of range.
But Eddie closes an eye, aims and squeezes off one SHOT. Two
blocks away, Emil topples. Korfin and Jordy look at Eddie,
astonished he made the shot. Emil scrambles to his feet.
Runs. Eddie holsters his weapon. Pulls out a handkerchief.
Dabs Leon's wounds.
LEON
He got my gun! Motherfucker was filming
the whole time!
EDDIE
I know. Relax. Take it easy. Don't
worry, we'll get those fuckers.
DISSOLVE TO:
EMS VEHICLE
Eddie and Jordy watch as Korfin on a stretcher, is loaded in
an EMS VEHICLE and in b.g., an EMS DOCTOR attends to Leon's
bloody face. Eddie and Jordy turn to go back into the
restaurant, now cleared out - as Nicolette Karas arrives with
her cameraman.
NICOLETTE
Detective - can you tell us what
happened here?
EDDIE
I can't talk right now. We have some
things to take care of.
Jordy moves off, he doesn't want to get pulled in front of
Nicolette.
Daphne can be seen waiting in the back of the restaurant,
maybe twenty feet away. Tommy stands next to her. This is
where Eddie and Jordy are headed.
NICOLETTE
I understand, but I noticed that the
Fire Marshall is here with you. Is this
somehow related to the fire department?
EDDIE
I really can't give out any information
right now at this point.
NICOLETTE
Okay. But I do understand that your
partner, Leon Jackson's been injured.
Is that correct?
EDDIE
He was hurt, but not seriously. He'll
be fine.
NICOLETTE
Do you have the suspect in custody?
EDDIE
Um...now is not a good time, okay.
Detective Jackson's hurt. He's fine.
I've got a Fire Marshall shot, Detective
Jackson is hurt but not seriously.
NICOLETTE
(to cameraman)
Alright, cut, cut, cut.
Mike the cameraman cuts the cameraman - lowers it from his
shoulder.
NICOLETTE (CONT'D)
(to Eddie)
Eddie, are you okay?
EDDIE
Yeah. Now's not a good time.
NICOLETTE
Alright.
EDDIE
Alright?
NICOLETTE
Alright.
EDDIE
Alright.
NICOLETTE
Okay.
Eddie walks into the restaurant. Throws a look back at her,
then enters.
INT. ARMAND RESTAURANT - DAY
Jordy talks to Daphne.
DAPHNE
I told your partner, I can't help. I
didn't see anything.
EDDIE
C'mon, start at the beginning. You know
these people?
DAPHNE
Tamina was a friend of mine. My shower
was broken, she let me use theirs.
EDDIE
Go on.
She says nothing.
EDDIE (CONT'D)
Whether you tell us or not, we'll find
out. Better if it comes from you.
DAPHNE
If I tell you, will you arrest me?
EDDIE
Arrest you for what? Why would we
arrest you?
She still hesitates.
EDDIE (CONT'D)
What are you hiding? Why are you afraid
JORDY
She just saw two of her friends killed!
They probably threatened her.
EDDIE
Is that all there is?
She looks at Eddie.
EDDIE (CONT'D)
Are you here illegally? Don't worry
about that. We'll talk to Immigration.
They won't deport you.
DAPHNE
No, no, don't talk to Immigration!
She clams up.
JORDY
Why not?
EDDIE
Something back home?
Jordy leads Daphne to a table - she sits. Eddie sits across
from her. Jordy crouches down next to her.
DAPHNE
...my little sister and I shared a flat -
I came home one night and a man was
raping her. His gun was on the chair...
He came at me and I shot him.
JORDY
(optimistic)
Alright. That's a justifiable homicide.
DAPHNE
Yes, but he was a cop.
EDDIE
A cop?
DAPHNE
(beat)
I'm from a small town in Slovakia. Like
the South here. The Police is right, a
civilian is wrong. So I fled.
EDDIE
Look, we can help you but right now we
have to deal with what's happening here.
Tell us the truth...is that the truth?
DAPHNE
You're a cop - you'll never believe me.
JORDY
(to Eddie)
Can I talk to you?
Eddie steps away with Jordy. Keeping his eyes on Daphne.
She tries to listen.
EDDIE
She's fucked. Even if that story is
true.
JORDY
Raw deal.
Eddie tilts his head. Measures Jordy.
JORDY (CONT'D)
Look - let me talk to her. Any leads I
get, they're all yours. Just let me
have a first crack at her.
EDDIE
You wanna talk to her alone?
JORDY
Yeah.
EDDIE
What would your girlfriend think of
that?
JORDY
I don't have a girlfriend.
EDDIE
My point exactly.
JORDY
I'm serious here.
EDDIE
So am I.
JORDY
C'mon. You intimidate her 'cause you're
a celebrity. She sees me differently.
EDDIE
You're her Savior? Is she the kid
you're gonna save from the burning
building?
JORDY
You know what I'm saying here.
Eddie looks at his watch. Thinks it over. Measures Jordy.
EDDIE
Okay, tell you what, I'll give you a
head start. You take her to the station
house. Don't let her out of your sight.
She's the only warm body we got left.
JORDY
Hey. I'm a professional.
EDDIE
Women like that have a way of turning
professionals into amateurs.
He gives Jordy a look and heads for the door.
INT. A SEEDY BATHROOM - DAY
Emil pulls off his sock and shoe, lifts his foot into a
stained sink and washes the blood away, exposing the chunk of
pink flesh taken out of his ankle. Emil grabs some toilet
paper, plugs the wound, then cuts the towel off the dispenser
with his kitchen knife and wraps his ankle. He grits teeth
in pain. The lights go out. Then Oleg adjusts the
fluorescent light above the sink.
OLEG
Gotta light the scene better. Now it's
more moody... like a scene from THE
THIRD MAN.
EMIL
Shut up.
OLEG
Does it hurt?
Emil lifts his foot out of the sink.
EMIL
This is nothing.
Emil lifts his shirt, exposing his back.
OLEG
Oh, shit. I hate looking at that!
EMIL
Don't want to film this?
We don't see what Oleg sees - not yet - but from his
expression, it's horrible.
INT. JORDY'S CAR - DAY
Daphne rides in the backseat. Jordy's watching her in the
rearview.
DAPHNE
Now I become custody of police
department?
JORDY
If you cooperate with the DA - maybe
they'll help you with your situation.
DAPHNE
I will if they don't send me back.
JORDY
They won't until this is over.
She looks away. Out the window. Jordy sees emotion filling
her eyes. She looks back at him - her eyes have teared up.
DAPHNE
Are you married?
JORDY
Divorced.
DAPHNE
Do you live alone?
(beat)
I've been in these clothes since...the
killings. Could we stop at your place?
I could take a shower...before I go into
custody?
Jordy looks at her. Can't quite tell if she's trying to
manipulate him or really just wants to get cleaned up before
all the shit starts.
JORDY
I can't take you to my place.
DAPHNE
Somewhere else?
Jordy looks at her...
EDDIE
Staring right at us.
EDDIE
I want to talk to you about something
serious.
He holds up the diamond engagement ring.
EDDIE (CONT'D)
I want to live the rest of my life with
you...I don't know you've been married
before and I've never been married, but
I do love you, and...
Eddie is standing in front of a mirror - rehearsing the
proposal. He notices a small dab of blood on his shirtcuff.
Leon's blood. Paulie enters carrying a towel and a vodka
tonic.
PAULIE
She's here.
Paulie sets down the drink and begins their silent ritual.
He hands Eddie the towel. Eddie wipes off his face and
hands, then hands the towel back to Paulie. Paulie helps
Eddie on with his coat. Eddie takes some Visine out of his
coat pocket. Drops a few in each eye. HE straightens
himself and looks in the mirror, taking a big gulp of the
drink. Eddie sets the glass down and starts out. Paulie
hands him a Binaca. Eddie gives himself a squirt as he
exits. Paulie follows.
INT. P.B. HERMAN'S RESTAURANT - DAY
It's lunchtime...it's crowded. Eddie takes a seat at a
table. He takes the ring out of his pocket - holds it under
the table. Nicolette Karas walks up to Eddie from behind.
Gives him a kiss on the cheek.
NICOLETTE
Hey, honey.
EDDIE
Hey.
She orders a drink in Greek from the Greek waiter, then sits
down across the table. There's a long pause - they just look
at each other.
NICOLETTE
What is your problem? Why'd you snap at
me? I just wanted a statement.
EDDIE
I can't...I can't answer you just
because you want me to answer you!
NICOLETTE
You didn't have to embarrass me in front
of my colleagues. You could give me
something.
EDDIE
Oh, I'm sorry. Did I embarrass you,
sweetheart? Oh...
NICOLETTE
Stop it.
EDDIE
Maybe I should just, ya know...turn to
the cameras and say, do you mind if we
just work something out?
NICOLETTE
Alright, alright, Eddie. Don't
patronize me.
EDDIE
I'm not.
NICOLETTE
Yes you are. I'm not just some
reporter. I don't just stick a
microphone in your face. You could give
me something.
EDDIE
Yeah, well you took the camera and put
it right down on the evidence. That
was...
NICOLETTE
That was good. You were holding the
evidence.
EDDIE
You were merciless. You didn't give a
shit if you got me or not.
NICOLETTE
Well, who was it that taught me how to
do that? Huh?
EDDIE
You're ruthless.
NICOLETTE
You're not so bad yourself.
They look at each other.
NICOLETTE (CONT'D)
C'mere.
They kiss.
NICOLETTE (CONT'D)
Look at this. You have blood on your
shirt. Whose is it?
EDDIE
Could be Leon's.
NICOLETTE
Jesus. And last week you came over with
blood on your shoes. What am I going to
do with you?
Eddie takes her hand.
EDDIE
You know, I been thinkin'...these shoes
might look nice with another pair of
shoes next to them in the closet.
She looks at him.
EDDIE (CONT'D)
You know, Nicky, I've been married twice
before. My first wife was a
professional woman, didn't have time for
children. My second wife...I never
wanted to go home to her.
Nicolette's phone rings. Eddie stops - looks at the ringing
phone.
NICOLETTE
What are you doing? What are you
saying?
Nicolette's phone keeps ringing. Eddie stares at it.
NICOLETTE (CONT'D)
Eddie?
Nicolette's phone keeps ringing.
NICOLETTE (CONT'D)
Don't worry about the damn phone. I
won't answer it.
EDDIE
Answer the phone.
NICOLETTE
No. Tell me what you want to say.
EDDIE
Answer it.
NICOLETTE
Okay. Okay. Hold that thought just for
a second. They only call me when it's
an emergency. Just hold that thought.
(into the phone)
Can you call back?
PHONE VOICE (O.S.)
We need you here in twenty minutes. Get
in a cab.
NICOLETTE
What're you talking about?
PHONE VOICE (O.S.)
Katie. We don't know where she is. We
can't find her. You gotta anchor the
5:00. This is your shot. Come now.
NICOLETTE
What? Oh. Okay. Yeah.
The line disconnects. She collapses the phone. Turns to
Eddie.
NICOLETTE (CONT'D)
Oh my G-d, they want me to anchor. They
want me to anchor tonight!
EDDIE
That's good.
NICOLETTE
Yeah.
EDDIE
Well, that's great.
NICOLETTE
Okay. That is great. But I can't go
now, we're in the middle of something
here.
EDDIE
No. Go ahead. You're gonna be great.
NICOLETTE
No. No, listen to me here. I want to
know what you're talking about. You
know, the shoe thing and the marriages
and...
EDDIE
I'll tell you tonight. Let's do it
tonight. As soon as you get back we'll
talk. We'll talk.
NICOLETTE
Promise?
EDDIE
I promise. We'll talk. You'll be
great. You'll be fine. Go ahead, just
imagine that, uh... Just look into the
lens and imagine you're talking to me.
NICOLETTE
Yeah. I'll do that. As long as you're
not patronizing me.
EDDIE
Patronizing you... Nay, I love you.
NICOLETTE
I love you.
They kiss.
NICOLETTE (CONT'D)
Okay, til tonight.
EDDIE
Tonight.
NICOLETTE
You promise?
EDDIE
Yeah. I promise.
NICOLETTE
Okay. And you know what, I'll swing by
my place, grab a couple pairs of shoes
and maybe just test them out next to
yours...How's that... Would that be a
good thing.
EDDIE
Yeah, yeah. Good thing.
NICOLETTE
Okay.
EDDIE
See you later. Good luck.
NICOLETTE
Thank you.
EDDIE
Don't be late.
She walks out.
INT. FIRE STATION 91 - DAY
Jordy unlocks the door. Enters with Daphne. The fire
station is empty.
JORDY
The men are out of quarters - practicing
putting out fires.
DAPHNE
So...the station is empty?
JORDY
Yeah. This way.
He gestures toward the stairs.
INT. FIRE STATION LOCKER ROOM - CONTINUOUS
Jordy and Daphne walk through the locker room. Her eyes
never leaving Jordy's.
JORDY
You considered becoming a prostitute?
DAPHNE
Yes, I considered it.
JORDY
Did you ever turn tricks before?
DAPHNE
No.
JORDY
What about back home?
DAPHNE
No.
Daphne stops. Looks at him. Stands very close.
DAPHNE (CONT'D)
I came here. I had no money. I knew no
one. I couldn't get a job because you
have to have a green card to get work.
They approached me - I could've made a
lot of money. I considered it, but...
it's not who I am. They pay me below
the table at Ludwig's.
JORDY
So you were never a prostitute?
DAPHNE
What are you asking me?
JORDY
I'm just trying to find out who you are.
She looks up into his eyes. Searching. Thinking he's
hinting.
DAPHNE
Can you let me go?
She leans in close to him - giving him the opportunity to
kiss her. Jordy is tempted but...remembers Eddie's warning
and backs up slightly.
JORDY
Showers are this way.
Desperate now, willing to do anything, Daphne moves in even
closer.
DAPHNE
You could shower with me.
Jordy is locked in her eyes. Almost giving in. Then breaks
away. Gestures towards the showers.
Daphne looks away form him - crestfallen. She heads to the
showers. Jordy follows her into the bathroom. The walls are
lined with shower stalls.
JORDY
I'll uh, I'll get you a towel.
He leaves her there. Alone. She quickly moves to the
window. Opens it. Looks down. It's a two-story drop to the
street.
JORDY
gets a towel from the locker room. His beeper goes off. He
checks the number but decides not to return the call. We
follow him back into the bathroom. The shower is on but he
notices the window. It's open.
JORDY (CONT'D)
Shit!
He rushes over. He looks out. No sign of her. He turns -
looks back at the shower. It's on but he can't see through
the curtain. Can't tell if she's there. He walks over -
quickly - fearing that she's left. He pulls the curtain
aside. She's crouched in the corner shower stall. Holding
herself. She looks up at him - her eyes filled with tears.
JORDY (CONT'D)
Are you alright?
Jordy sits on the bench next to the shower.
DAPHNE
I'm not a whore. I'm not a whore.
JORDY
I know.
DAPHNE
You don't know. I'm sorry. I was
desperate. That's not me. I shot a
cop. Can you imagine what they'll do to
me when I got to prison?
JORDY
They're not gonna send you right back.
DAPHNE
I'm sorry. I didn't mean to...I'm glad.
Actually I'm glad it's over. All this
time. Hiding. Never being able to look
anyone in the eyes.
Always afraid that someone would find
out who I was. Never trusting anyone...
He covers her with the towel, pulling her up.
JORDY
You can trust me.
She embraces him. Trusting him. He stands there for a
moment. Then awkwardly holds her. Comforting her.
INT. NYC RESTAURANT - DAY
CLOSE UP
on a steak. Male hands cut a piece. Another male hand sets
down a huge bottle of Extra Strength Excedrin. The hands
abandon the steak and rip open the bottle. The CAMERA pulls
back to include the LCD screen of Oleg's videocamera. He is
taping Emil as he rips open the safety plastic with his
teeth. Emil is sweating with fever and his eyes are glazed
over in pain. He 'drinks' pills from the bottle and chews
them up. Wincing in pain. Emil washes them down with a
beer.
Emil looks down and the camera follows his gaze to the
"People" magazine article he's reading on Stephen Geller.
Emil laughs. Shaking his head at the article as the
videocamera tilts back up to his face.
OLEG
What is it?
EMIL
The video of Milos and Tamina - I told
you to erase it.
OLEG
I did.
EMIL
And the whore's murder? You didn't
erase that either, did you? Don't lie,
I won't be angry.
OLEG
Why not?
EMIL
Put the camera down, Oleg.
Oleg closes the LCD screen and puts the camera down. Emil
removes a small address book -- from Leon's wallet - he looks
up Eddie Flemming's name.
OLEG
What is that?
EMIL
What does it look like? It's an address
book!
Oleg jumps up with the camera to tape the book.
OLEG
Let me get a shot of it.
EMIL
Sit down!
OLEG
This way. Hold it this way. Good.
Oleg gets a shot and quickly sits back down.
OLEG (CONT'D)
Why won't you be angry at me for keeping
my movie?
Emil takes a gulp of beer - drops cash on the table and limps
away. Oleg follows.
INT. PRECINCT - DAY
It's quiet - Chief Duffy paces in front of the Sergeant's
desk. Looking at his watch. Growing more and more
aggravated as every second ticks by. Jordy enters escorting
Daphne. Sees Duffy and tires to go past him. Duffy turns
and sees Jordy and Daphne.
DUFFY
Hey. Warsaw.
Jordy stops and comes back. Sitting Daphne down on a bench.
JORDY
Hey, Chief, what are you doing here?
DUFFY
I came to see how the investigation was
going.
(looks at Daphne)
I called and you're not here. I wait up
at the station and you don't even show
up!!! I beep you - you don't return my
call. Where the hell have you been?!
Jordy takes a few steps away from Daphne.
JORDY
Ladder 20 was on the Rock for training.
We stopped there... so she could get
cleaned up.
DUFFY
What do you mean, 'cleaned up?'
JORDY
I let her take a shower.
DUFFY
A shower!? Did you take one, too?
JORDY
No! Nothing happened.
DUFFY
Oh really. That's nice. You took a
homicide witness to take a shower after
your partner was shot? Are you out of
your fucking mind?? Are you having that
much trouble gettin' dates?!
EDDIE (O.S.)
I told him to take her there.
Jordy and Duffy turn. Eddie walks out. Eddie turns - Tommy -
the young detective who caught the case in the King Edward
Hotel - is coming out of the back office.
EDDIE (CONT'D)
Tommy, get her outta here.
Tommy takes Daphne into the precinct.
TOMMY
This way, ma'am.
EDDIE
There was too much press hangin' around
there. I didn't want her face on the
news. So I told him to take her to a
quiet area until things settled down.
DUFFY
Oh.
EDDIE
It was my decision, not his.
DUFFY
Well, I'm the Deputy Chief Fire Marshall
and every now and then I'd like to be
included in decisions.
EDDIE
Look, after Jordy briefs me, you can do
the press conference. How about that?
The case is all yours.
DUFFY
Oh yeah...? Alright.
EDDIE
(to Jordy)
I'm ready to be briefed.
(to Duffy)
Excuse us.
DUFFY
(to Eddie)
Yeah, sure.
(to Jordy)
Beep me when you're ready for the press
conference.
JORDY
Will do, Chief.
Eddie leads the way, walking past the Sergeant's desk -
toward the back and to his office.
JORDY (CONT'D)
Eddie, I...
Eddie holds up his hand - silencing Jordy.
EDDIE
Wait.
INT. POLICE PRECINCT - DETECTIVE ROOM'S SQUAD - DAY
A handful of detectives talk about work over burned coffee.
Eddie enters with Jordy.
EDDIE
Guys...give me a few minutes?
They empty out.
JORDY
Look, Eddie, I'm tellin' you - I didn't
touch her.
EDDIE
Well, you shoulda because nobody's gonna
believe you didn't...including me.
JORDY
I took her there for a shower and that's
it.
EDDIE
Just a shower?
Eddie gives Jordy a questioning look.
JORDY
Yeah, just her in the shower. Nothing
happened. Look, I'm sure you probably
think I'm a fool and I fucked up, but...
EDDIE
No, I don't think you were a fool, I
just think you were stupid about it. I
mean, to say the least, you outta know
better. You don't know her well enough.
She's got the potential to fucking hang
you even if she suggests that you made a
pass at her, it's fuckin' over. You can
deny it all you want, but it will not
make one fucking bit of difference.
You're dead.
JORDY
I told you, you know, I thought I was
doing the right thing, you know, I think
she's innocent.
EDDIE
Well, it's not up to you to decide
whether she's innocent or not. Don't
you understand, that's why you're a
professional.
JORDY
But, I mean, didn't you ever go out on a
limb for somebody? I mean, you shoulda
heard her there. Tellin' her whole
story...I believed her.
EDDIE
How you go out on a limb for somebody is
by giving her a number of an Immigration
lawyer. Here, here's a number of an
Immigration lawyer. That's how you help
her.
But you can't get involved in her like
that. You're gonna jeopardize your
career, your life and you're gonna
jeopardize my case. And lemme give you
another piece of advice. Maybe you
don't watch TV but I'll let you in on a
little secret - the whole fuckin' world
watches television. And when you get
out there, they know your face. And the
little fame, the little fuckin' itty
bitty fame that I get in this city makes
it a lot easier for my job. And I get
more done because of it.
Jordy studies Eddie for a quiet beat.
JORDY
Why'd you help me back there with the
Chief? Why'd you stand up for me like
that?
EDDIE
You know, I don't know. I like you.
You remind me of a puppy I used to have.
He pissed on the rug all the time, but I
still kept him.
Eddie picks up his cigar that's going out. He sticks it in
his mouth. A match is lit. He looks up. Jordy holds the
match. Eddie dips the end of the cigar and puffs. The
homicide detective and the fire marshal hold a look.
INT. EDDIE'S APARTMENT - NIGHT
Eddie walks in - carrying flowers. He closes and locks the
door behind him. He grabs the phone. Dials.
EDDIE
It's Flemming...anything turn up? Did
they check the hospitals? Airports?
Yeah, I hit him! I fuckin' hit him! We
should be all over everywhere - with
dogs, choppers, everything! These guys
are from fuckin' Czechoslovakia...
He looks at the flowers. Decides to put the case behind him
for a moment.
EDDIE (CONT'D)
I'll call you later.
He HANGS up. Arranges the flowers in a vase. So they look
perfect. Sets them on the coffee table. Fills out a card,
writes, "Nicky, I love you.
Will you marry me?" He sticks the card in the flowers -
turns the lights down low. Puts a romantic Sinatra song on
the stereo. Moves to the liquor cabinet. Pours himself a
drink. He sets the ringbox on the coffee table - next to the
flowers. There's a knock at the door.
EDDIE (CONT'D)
Coming!
Eddie smooths his hair, unlocks the door. But the hallway is
empty.
EDDIE (CONT'D)
Nicky!?!?
No answer. Eddie steps out in the hallway with the drink in
his hand. Walks toward the elevator. Doesn't notice the
shadow that passes behind him - entering his apartment.
Eddie turns. No sign of anyone.
EDDIE (CONT'D)
Nicky?!
He walks back toward his apartment. Turns and locks the
door. A BLUR jumps out of the shadows SLAMMING him on the
head with a gun. Eddie tumbles to the floor! OUT COLD!
A BLURRED VIDEO IMAGE
as it's focused - on Eddie - handcuffed and upper body taped
to a chair - 20 minutes later - sobered up. Emil is sitting
in front of him. On the coffee table alongside him are the
flowers in a vase. They've ransacked the place. Emil has
Eddie's watch, his gold shield and his money. He's smoking
one of Eddie's cigars and in Emil's hand...is the diamond
engagement ring and card. Oleg, 60 MINUTES-style, is
positioned behind Emil videotaping Eddie. He moves to the
corner of the room - bringing a light back over to illuminate
Eddie's face.
EMIL
So...who's Nicky?
EDDIE
What do you want?
EMIL
Your opinion.
(leaning forward)
You see, they going to make a movie
about me, too, Eddie. And write books.
EDDIE
(sarcastic)
What's your accomplishment.
EMIL
I kill someone famous.
EDDIE
Then do it, asshole.
EMIL
Good - be tough to the end. Actor who
plays you will want to die like hero.
Eddie looks at the videocamera. Emil answers Eddie's look.
EMIL (CONT'D)
So tabloids don't have to do re
enactments. They going to have real
movie this time.
EDDIE
If you kill me and film it you're
putting a noose around your neck.
Emil turns to Oleg.
EMIL
Turn it off.
Oleg obeys. Emil turns to Eddie.
EMIL (CONT'D)
No. We are insane. Who else but crazy
men would film their murders?
(gestures to Eddie)
So we kill someone famous and if we are
caught, we are sent to mental hospital.
But what good is money there? Because
once in hospital I say I not crazy.
Just pretended to be acquitted. We see
psychiatrists. They must certify we are
sane and because of your - what is law
called?
(Eddie says nothing)
Oh - I got it. Because of your Double
Jeopardy law, we can't be tried for same
crime twice. We come out free, rich and
famous!
OLEG
Good idea!
EDDIE
You really think you'll be able to fool
a jury with this bullshit? How fuckin'
stupid are you?
EMIL
Smarter than Americans. You're fed cry
baby talk shows all day long. Not only
will Americans believe me, they'll cry
for me.
(laughs)
So...Detective Eddie Flemming, would you
like to say goodbye to your Nicolette?
Maybe you can propose to her now?
Eddie says nothing. Just stares at Emil. Emil puffs on
Eddie's cigar.
EMIL (CONT'D)
Okay. He has nothing to say.
(signaling Oleg)
Start the camera!
OLEG
Cut!
Emil looks at Oleg.
OLEG (CONT'D)
This is my project. I say 'action.' I
am the director! You are the talent.
You wait for me to say 'action!'
Emil looks at Eddie as if to say, "See what I have to put up
with." Oleg gestures from behind the videocamera.
OLEG (CONT'D)
And...action!
Oleg FILMS as Emil raises Eddie's service revolver. Eddie
suddenly KICKS at Emil's hand, but Emil pulls it away,
backing out of Eddie's reach.
EMIL
Bad last moment - I cut that out.
Emil raises the pistol again - pointing the gun at Eddie's
left temple. Emil cocks the hammer, but Eddie avoids the
gun, ducking his head to the side of Emil's arm. Standing
and following his head up Emil's arm and pushing him over
into the desk. Eddie then knocks Emil with the chair and
Emil falls off the desk and onto the floor.
Oleg still grips the videocamera. Eddie continues around
with the chair and drives Oleg back across the room - pinning
him to the wall.
Eddie comes back from Oleg to the gun at the same time as
Emil is limping for it. Eddie knocks Emil out of the way
with the chair and then stabs him with the legs of the chair
repeatedly.
Eddie comes up and around again at Oleg who is coming at him
from the wall. Eddie knocks Oleg over the coffee table and
onto the sofa. Falling on top of him, rolling over and
leaving Oleg on the sofa.
Eddie manages to get up from the sofa and position the chair
in such a way that he can fall over backward and grab the
gun. Emil limps toward the gun at the same time and it is
not clear in the darkness who has the gun.
Oleg gets up from the sofa and goes over to get the
videocamera. Eddie has managed to get the gun and comes up
as Oleg is moving in with the camera and starts shooting
toward Oleg - managing to shoot one of the blinds off the
window and one of the lampshades off the lamp.
Oleg crouches down with the camera and Eddie starts to turn
toward Emil who comes at him with the knife and stabs him in
the stomach.
Emil steps back, revealing the knife is BURIED IN EDDIE'S
STOMACH.
Eddie stumbles backward, falling over but still attached to
the chair - holding the gun. Eddie can't believe he got
stabbed. Blood swells around his stomach. He can't be
dying. This can't be happening. He looks at Emil. The pain
is terrible. Oleg has knelt down next to Eddie - getting a
close up.
Emil looks at Eddie.
EMIL (CONT'D)
Die. Die.
Emil looks around. Grabs a black pillow and finishes Eddie
off, suffocating him.
BLACKNESS
We are moving through a tunnel - pitch black, so dark all you
feel is the motion. We are travelling very fast. Finally,
in the distance, a speck of light which fills the frame.
We slowly pull back from the white light to discover it is a
tiny pixel on a TV screen.
WIDENING
further out we see Eddie's funeral on the evening news. It's
an enormous gathering - a sea of blue uniforms and
dignitaries. In the upper right hand corner, superimposed
over the funeral, is a picture of Eddie from his ID and in
his NYPD uniform. We see Oleg's reflection on the set with
the videocamera. He is filming the TV. We hear the audio
from Eddie's funeral.
NEWSCASTER (ON T.V.)
..Detective Flemming was one of the most
decorated NYPD detectives in the history
of New York. He made several thousand
arrests during his career, including the
famed Stephen Geller case. Beloved by
the community in which he served. His
partner eulogized him...
Leon is at the mic.
LEON (ON T.V.)
...Eddie was my mentor, my best friend
and my partner...he taught me the
meaning of the word 'cop.' He was a man
in every sense of the word. I'll miss
him...
(choking on tears)
Sleep well, brother.
Leon begins to sing "Amazing Grace." Oleg PANS from the TV
and focuses it on a lightbulb. Hands enter the frame -
carefully pouring clear liquid into an ashtray. A long
hypodermic needle slides into the ashtray - the plunger is
pulled back and the needle quickly fills with liquid.
Gingerly, the needle is inserted into the lightbulb. Again,
the plunger moves and the lightbulb is filled and placed on a
table...next to a CAN OF GASOLINE. VIDEOCAMERA ZOOMS OUT
revealing...Emil sitting at a hotel desk doing this.
INT. P.B. HERMAN'S RESTAURANT - DAY
It's packed with COPS drinking. Prosecutors...lawyers...many
who were at the funeral, including Leon. All wear the black
ribbon on their badges. There's a quality of an Irish wake -
boisterous, guys cursing...many cops in uniform. A buffet
has been laid out.
Hawkins enters in a black suit, wearing a black ribbon. He
greets people, shaking hands, embracing Leon.
HAWKINS
Awful...what an awful day. He was New
York City.
Hawkins notices a young man by the window. Teary-eyed. It's
Tommy. Hawkins nods to him.
TOMMY
I never got to tell him how much I
admired him.
HAWKINS
I know, son, I know. We all loved him.
Hawkins moves on...greeting others. He notices at the end of
the bar - sitting alone on a stool - is Nicolette. He moves
to her. Pulls up a stool alongside her. She turns, looks at
him. Just stares at him for a long beat. She is bombed.
Definitely drunk. She's had many. She turns to Hawkins.
NICOLETTE
You know...you know he was gonna propose
to me. The crime guys found a card he'd
written out to me. And a ring
box...these fuckers that killed him -
have my ring. They have my diamond
engagement ring...
Hawkins touches her shoulder with compassion.
HAWKINS
I know.
NICOLETTE
What do you mean you know? He told you
he was gonna propose to me?
HAWKINS
Well, he...
NICOLETTE
(overriding)
I want to hear everything he said.
HAWKINS
I'm trying to tell you.
NICOLETTE
Alright. Go ahead.
HAWKINS
That morning. He was talking to me and
Leon about marriage.
NICOLETTE
Oh my G-d. We were having lunch here.
He started making overtures - talking
about little shoes next to his in his
closet but I got a call to anchor - and
I walked out on him. I walked out on
him when he was trying to ask me to
marry him!!
Nicolette is crying now. She angrily wipes away a tear.
NICOLETTE (CONT'D)
I'd never had a great relationship
before. I'd never made great choices
with men. And he wasn't easy to get to
know. He was older, my parents told me
I was nuts to get involved with him.
But he was so great to me. Always
encouraging, telling me I could do
anything...
(beat)
He was the one. You know, I'd give up
everything - everything - for just a
little more time. I would've spent
fifteen minutes with him if that's all I
knew I had.
She's lost it. Hawkins consoles her. Nicolette shrugs him
off - turns back to her drink. Downs the rest of it. A
woman arrives, MAGGIE, Hawkins' producer - assistant in tow.
MAGGIE
Robert...?
HAWKINS
What are you doing here?
MAGGIE
(holding a cellular)
You've got a call.
HAWKINS
I can't talk to anybody right now, can't
you see I'm busy! I can't talk
business. Hang up. Have a drink.
(to Paulie)
Get her a whiskey.
MAGGIE
Trust me, you'll want to take this call.
Robert steps off the stool. Takes the phone.
HAWKINS
Hello? Who is this?
(listens)
How do I know this is you?
Hawkins gives Nicolette a comforting squeeze on her shoulder.
Backs away from the bar. Now out of hearing distance, he
looks back at Nicolette and lowers his voice.
HAWKINS (CONT'D)
Where?
We INTERCUT Emil on a public phone in the lobby of a movie
theater. Oleg videotapes Emil on the phone, as he throws
glances into the theater.
EMIL
Come to 45 Broadway. Don't bring the
Police. Come alone or you'll be in my
next film.
HAWKINS
(low)
Look asshole. I've been threatened by
better than you.
EMIL
No. I'm the best that's ever threatened
you.
HAWKINS
I'll meet you on one condition - I get
exclusivity and you surrender to me.
EMIL
We'll talk about that. Four o'clock
gives you time to go to bank. Three
hundred thousand dollars.
HAWKINS
What? It doesn't work that way.
EMIL
(incensed)
If you don't want my film - I'll call
another show. And they will show it.
HAWKINS
Wait a minute. Wait a minute.
EMIL
Come alone. Bring cash. And we'll talk
about surrendering.
CLICK. The line goes dead. Hawkins disconnects. Hands the
phone back to Maggie. She's looking at him. Excited.
Hawkins looks at Nicolette. His mind whirls.
INT. FIRE STATION 91 - KITCHEN - DAY
Daphne and Korfin are sitting at a table. Korfin's arm is in
a sling, his side bandaged. Duffy and Jordy enter in their
dress uniforms. Korfin walks over to them.
KORFIN
How was it?
JORDY
(numb)
Not good.
Jordy's quiet. Dazed. Nobody can believe Eddie's gone.
DUFFY
(nods to Daphne)
Did the D.A. videotape her deposition?
KORFIN
Yeah. He finished awhile ago.
DUFFY
(to Korfin)
Alright. Swing by her apartment. Let
her pick up her clothes and take her
straight to Hoover Street. You got
that?
KORFIN
Yeah.
Jordy looks at her. Duffy sees them hold each other's look.
JORDY
Chief - mind if I take her?
DUFFY
Okay. But not water sports.
Duffy walks out. Jordy leads Daphne out of the station.
Korfin follows. A MAN IN A CHEAP SUIT is talking to Camello
who points as Jordy walks by. The man chases after Jordy.
MAN
Excuse me - Jordan Warsaw?
JORDY
Yeah.
MAN
(shoving papers in Jordy's
hand)
Consider yourself served.
Jordy opens the papers. Korfin puts Daphne in the car.
Walks back over to Jordy and reads over his shoulder.
KORFIN
Zwangendaba??? Is suing you, the
department and the city of New York for
10 million? Who is Zwangendaba?
Jordy remembers...and gets more depressed.
JORDY
The mugger.
EXT. DAPHNE'S APARTMENT BUILDING - NIGHT
It's an old brownstone - in poor condition. Jordy pulls up.
Opens the door for Daphne - takes her by the elbow - steering
her to the door. He is edgy. Jumpy. Looking around.
DAPHNE
Are you alright?
JORDY
I still can't believe Eddie's gone.
DAPHNE
I'm sorry.
He looks at her. Nods. They walk up to the stairs as the
front door opens. A NEIGHBOR exits, shocked. Jordy pulls
Daphne out of the way.
DAPHNE (CONT'D)
(in Czech to the man)
Hello. How are you?
INT. DAPHNE'S APARTMENT BUILDING - HALLWAY - CONTINUOUS
Jordy and Daphne make their way up the stairs. A bouquet of
flowers are outside Daphne's apartment.
JORDY
What's this?
She takes the card. Jordy looks over her shoulder. Daphne
reads: "Good luck with all your troubles. I'm here if you
need me...Ludwig."
JORDY (CONT'D)
Is he your boyfriend?
DAPHNE
Ludwig? He's gay - are you jealous?
JORDY
If I was your boyfriend, I might be.
DAPHNE
If you were my boyfriend, I'd suggest
you find another girlfriend that isn't
going to jail ten-thousand miles away.
They're staring in each other's eyes. The sexual tension
strong.
JORDY
A good Immigration lawyer could stall
the process. Eddie recommended one.
DAPHNE
No matter what happens...I'm glad I met
you.
JORDY
I'm glad I met you.
They hold each other's eyes...then suddenly they kiss.
Urgently. Passionately. Somebody is coming up the stairs.
They part quickly. A tenant enters his apartment down the
hall. Jordy clears his throat.
JORDY (CONT'D)
Let's get your stuff.
He opens the door. Peers inside - checking it out. Turns to
her. Gestures that it's okay to enter.
INT. DAPHNE'S APARTMENT - CONTINUOUS
It's very small. Almost no furniture. The bare minimum.
The apartment is a hole. She looks at Jordy. Both thinking
the same thought. Another kiss.
JORDY
You better get packed.
DAPHNE
Right.
She holds his look.
JORDY
Do you have coffee?
DAPHNE
In the kitchen.
JORDY
I'll make some for us.
DAPHNE
I'll get my clothes.
She heads down the hall. Jordy enters the small kitchen. He
flips on the kitchen light and the LIGHTBULB EXPLODES -
SETTING THE CEILING ON FIRE AND RELEASING A RAIN OF FIRE INTO
THE ROOM. Jordy JUMPS BACK.
DAPHNE (CONT'D)
Jordy!!!
JORDY
No! Get back! GET BACK!!!
Jordy's more surprised than shaken. It's a fire - he knows
the drill. He pushes her into the living room. Then notices
a FIRE EXTINGUISHER hanging on the wall. Grabs it. Aims it
at the FIRE spreading in the kitchen. He SPRAYS as Daphne
SCREAMS!
DAPHNE
That's not mine!
WHOOOOOOOOOSH! The fire extinguisher FEEDS THE FIRE! Flames
leap up from the fire - shooting toward the extinguisher
because it's filled with gasoline. The handle LOCKS! Jordy
CAN'T TURN IT OFF. Flames engulf the extinguisher and
JORDY'S HAND.
He flings the extinguisher - BACKS OUT OF THE KITCHEN.
Closes the door. Jordy takes off his jacket. Stuffs it
under the bottom of the door. Blocking the smoke. He
hurries into the living room. Knowing it's moments before
the extinguisher will explode. Jordy pulls out his cellular.
Hits the speed dial as he notices Daphne about to throw a
chair through the window.
JORDY
Don't! It'll suck the flames toward us!
Too late. She SMASHES the window. There's an EXPLOSION in
the kitchen. Smoke and fire rush down the hallway and along
the ceiling. Jordy yells into the phone:
JORDY (CONT'D)
This is Jordan Warsaw! We got a 1075,
make it quick, we're trapped! 8th
Avenue and 44th Street.
He pulls Daphne toward the bedroom. It's locked. Jordy
kicks it open. Grabs the comforter off the bed. Shoves that
under the door jam. He pulls Daphne into the bathroom.
Shuts the door. Runs his severely burned hand under the cold
water. Daphne looks out the window - hearing the sirens.
She notices someone has nailed the window shut. And on top
of one nail...is Eddie's gold shield.
DAPHNE
Oh my G-d! Oh my G-d!
Jordy turns - sees Eddie's shield.
DAPHNE (CONT'D)
They were here!
This freaks her out. They were in her home. She starts to
panic.
JORDY
Calm down. Get a hold of yourself! Get
down!
He pulls aside the curtain to the bathtub. In it is a CAN OF
GASOLINE. A virtual bomb.
JORDY (CONT'D)
Oh Jesus!
Daphne reaches for the can of gasoline.
JORDY (CONT'D)
What are you doing?
DAPHNE
Pouring it out!
She grabs the can of gasoline - pours it down the drain. The
FIRE is raging outside the bathroom. The bathroom door is
beginning to smoke and burn. They are trapped.
Jordy turns - grabs an exposed water pipe that runs up the
wall to the ceiling. He throws his feet against the wall for
leverage. Pulls with all his might to break it loose. It's
creaking - but he's having a hard time with it.
DAPHNE (CONT'D)
Oh shit!
Jordy looks over. The gasoline she's pouring out - is not
going down the drain. It's stopped up. As soon as the fire
gets in the bathroom, everything will explode!
Jordy begins pulling at the rusty pipe with all his might.
Daphne comes over - helps him. Both of them trying to break
it off. Suddenly it snaps and water POURS into the room.
SOAKING THE WALLS. They point the pipe toward the door,
soaking some of the flames which are consuming the door.
Trying to stop the fire from coming in. He and Daphne are
drenched. And trapped.
Jordy grabs a broken piece of pipe. Starts SMASHING the wall
behind them. The wall to the adjacent apartment.
VIDEO POV
Jordy and Daphne in the bathroom - surrounded by fire.
CAMERA WHIP PANS down the street as FIRE ENGINES arrive.
OLEG
is VIDEOTAPING them from the opposite rooftop. Tenants from
Daphne's building are fleeing down the fire escape. Emil
stands in back of Oleg - who is very excited. He turns the
camera on himself.
OLEG
This is great film! You can see fire
right now - Daphne is in fire - Fire
Marshal is here. Everything is so
messy. Everything is so crazy right
here! Look at this fire! We made it!
90% of people who die in fire die from
eating smoke. So most likely they all
die from eating smoke.
The CAMERA PANS to Emil.
OLEG (CONT'D)
And this is the man who started the
fire. Say something to your fans, Emil!
Emil waits a beat and then blows a kiss to the lens.
DAPHNE'S BATHROOM
Filled with smoke. You can barely see Jordy or Daphne.
Jordy SMASHES a hole in the wall - which reveals the bathroom
in the apartment next door. The smoke has a place to escape.
There's a 7-year old KID in there. Standing in the bathroom.
Terrified.
JORDY
Get back! Get out of the bathroom!
Run!
7-YEAR OLD KID
The hallway is on fire!
JORDY
It's okay. I'm a fireman. I'm going to
help you. Get back! Now!
Jordy pushes Daphne through the wall - turns as the bathroom
door catches fire. It's seconds before the whole room will
blow up.
OLEG
Across the roof is videotaping the bathroom as it EXPLODES!
EXT. STREET - CONTINUOUS
Fire engines have arrived. The street is filled with
gawkers. Garcia and Korfin pull up just as Jordy runs from
the building - holding the kid in one arm and pulling Daphne
with the other. Carefully guarding his bandaged hand. A
fireman grabs the kid. Another grabs Daphne. Garcia and
Korfin run to Jordy.
GARCIA
Jordy! What the hell happened?!
KORFIN
Are you alright, man? Lemme see the
hand!
JORDY
Where's Daphne? Daphne?
He spots Daphne on the corner as a familiar voice pushes
through the crowd.
VOICE
Isn't she a beauty? She's my fire, look
at that loom-up on her!
Jordy turns - it's Max. The attention pyromaniac who Jordy
threw out of his office. As a news crew arrives, Max turns
to the cameras.
MAX
I did this! I did this! Take my
picture! I'm Max! Max Gornick!
Jordy grabs Max - pushes him away.
JORDY
Get outta here!
KORFIN
What the hell happened?
JORDY
They were inside. They booby trapped
her apartment!
Korfin scans the crowd. Looking for Emil and Oleg. In the
b.g., Duffy is SCREAMING.
DUFFY
What the hell are you talking about???
They're gonna do what?
Jordy and Korfin turn. The Chief has a phone to his ear and
is freaked.
INT. LOBBY OF CHANNEL 12 BROADCASTING - NIGHT
JORDY'S POV
as he enters the TV station. His clothes burnt and still
wet. The lobby's full of ANGRY COPS. Tommy and Leon, still
in his funeral suit, SCREAMING above them all at Maggie the
producer and her ASSISTANT, who are standing behind the desk.
TOMMY
Where is he?! Where is Hawkins?!
MAGGIE
He's not on the premises!
LEON
I want the tape. Go get it and bring it
here this minute.
MAGGIE
Any request for the video must be
directed to "Top Story's" attorney -
Bruce Cutler. I'll be happy to give you
his number.
Leon jumps over the desk where Maggie stands. Tommy pushes
past the security guard to follow Leon. They continue toward
Maggie, pushing her further back into the office. She tries
to protect herself with an office door which Leon slams open.
LEON
Lady, if you put Eddie's murder on TV,
I'll get a warrant for your arrest and
shove it so far up your ass it'll come
outta your mouth!
MAGGIE
I want your shield number!
HAWKINS (O.S.)
Viewer discretion advised!
MAGGIE
(pointing at the TV)
You want the tape? There it is!
Leon, Tommy, all the cops and Jordy - turn toward a TV set
which is mounted in the lobby. The "Top Story" logo flashes
on the screen, then Robert Hawkins is seen behind his desk.
HAWKINS
What we are about to broadcast is very
graphic footage...
Everyone is riveted. But Jordy notices outside...a "Top
Story" NEWS VAN is waiting in the alley. Robert Hawkins
jumps from a doorway and into the van. Jordy backs out.
INT. PLANET HOLLWYOOD - NIGHT
POP...a video POV of a bottle of Crystal as the cork is
popped. The videocamera pans up to Emil sitting at the
table. He nods at the waiter who leaves. Emil raises the
glass - looking into the lens.
EMIL
America! Who says you can't be success
in America? I arrived with nothing,
knowing nobody - now look - I am a
success story!
The videocamera is lowered. Oleg turns it off. Asks
suspiciously.
OLEG
You are success story? I am success
story! Why do you say I and not we?
EMIL
Oleg, don't be paranoid. You got a
hundred-fifty thousand dollars, didn't
you? I gave you half of what they gave
me. Look - here we are!
Emil gestures toward the big television set. We are in
Planet Hollywood - where diners and those by the bar can
watch a huge screen hanging from the ceiling. Robert Hawkins
is introducing his show.
HAWKINS (ON T.V.)
Good evening. Welcome to "Top Story".
Tonight, I present to you material of a
graphic and violent nature never before
seen on television. And I do so with a
heavy heart. You will be first-hand
witness to the slaying of celebrated New
York City Homicide Detective, Eddie
Flemming. It would be only normal to
ask, why? Why are we showing something
so journalist, I must show it. A
democracy survives through the freedom
of its media, and if we cannot see what
is happening then we don't deserve our
democracy, or our freedom. Eddie
Flemming was my friend. I cried when I
watched this footage and vowed to fight
this violence with every molecule of my
being from this day onward. Hopefully,
this will have a similar effect on you.
One final word, this material is
absolutely not appropriate for children.
The restaurant BUZZES. Emil checks his watch.
OLEG
In movie they make of us, who do you
think would act me?
EMIL
The one who got caught in the bathroom.
(beat)
George Michael.
Emil laughs. Oleg doesn't.
OLEG
I'm serious.
EMIL
Shut up. Look!
Emil points towards the TV. "Top Story" is continuing. The
scene cuts to Emil's video footage. Eddie is handcuffed to
the chair. The light illuminating his face.
OLEG (O.S.)
This is my project. I say 'action.' I
am the director! You are the talent.
You wait for me to say 'action.'
(beat)
And 'action!'
EMIL
Bad last moment - I cut it out.
Emil looks at Oleg - furious.
EMIL (CONT'D)
I told you to cut that out before we
handed in the tape!
OLEG
Be quiet. Watch.
Oleg watches the big-screen TV as Emil raises the pistol to
Eddie's temple. Eddie pushes him over the desk. Eddie then
knocks Emil with the chair and Emil falls off the desk onto
the floor. Eddie continues around with the chair and drives
Oleg back across the room - pinning him to the wall. Eddie
and Emil both go for the gun. Eddie knocks him out of the
way. Stabs him with the legs of the chair repeatedly.
Leaves him in a ball on the floor. Oleg comes at Eddie and
he knocks Oleg over the coffee table and onto the sofa. The
blinds and lamp shade are shot - bathing the room with more
light. Emil stabs Eddie in the stomach. Oleg kneels down
for a CLOSE-UP.
EMIL
Die. Die.
EXT. TIMES SQUARE - CONTINUOUS
Hawkins' van drives across Times Square. Jordy's car
following. We WIDEN OUT... Eddie's murder is being broadcast
on the JUMBOTRON in Times Square. People stare up - stunned.
INT. PLANET HOLLWYOOD - CONTINUOUS
The dinner patrons are watching TV. Shocked. Emil glares at
Oleg.
EMIL
Why did you leave that stuff in about
you being the director?
OLEG
Because I am the director. Don't you
realize, if it wasn't for my film, for
my talent, my idea to do this - no way
would we be sitting here right now.
EMIL
Your idea? I thought it was my idea.
Oleg tenses. Emil laughs.
EMIL (CONT'D)
Aren't you just the cameraman?
Oleg doesn't laugh.
OLEG
I'm serious...this - this is a great
American film. Full of violence and
sex. And I want my credit.
EMIL
Credit?
OLEG
Yes. Before we hand in the next video -
I put titles on it and my credit is
going to read - Directed by Oleg Razgul.
EMIL
Yes. But there's only one problem - you
want credit but the problem is - I don't
share credit.
Oleg is pissed.
EMIL (CONT'D)
You got that?
OLEG
No, I don't get that!
EMIL
You think you are a director? You are a
fucking little, small Russian piece of
shit. And I hate you. I fucking hate
you.
Emil slaps Oleg across the face. Oleg stands up. Emil
suddenly pulls out Eddie's gun but before he can pull the
trigger, Oleg STABS Emil in the arm! Emil squeezes off a
shot through the crowded restaurant. Patrons SCREAM - Oleg
runs through the restaurant, escaping. It's chaos.
Hawkins arrives with a crew and with BRUCE CUTLER, a
confident, tough criminal attorney.
Emil pulls the steak knife out of his arm, picks up a napkin -
pressing it to his wound.
EMIL (CONT'D)
Oh, hello.
Cutler accesses the situation.
EMIL (CONT'D)
Are you my attorney?
(extends his hand to Cutler)
I'm Emil. I'm insane.
CUTLER
I'm not your lawyer until I see the
money.
EMIL
Here. I have your money.
Emil picks up a briefcase and hands it to Cutler. Cutler
opens it - inside is the cash Emil got from Robert Hawkins.
Emil looks at the table, pushing the plates and silverware
aside. Emil looks under the table, throwing the chair aside,
freaking. He's lost the most important thing in his life.
EMIL (CONT'D)
Oh no! No! Shit!
CUTLER
(follows Emil - reaching out to
him)
Emil. Take it easy. Stay with me. Sit
down. What do you need? What are you
looking for?
EMIL
He has the camera! He took the movie!
Jordy comes in, gun raised.
JORDY
Don't move! Don't move! Get your hands
up! Drop it!
Emil puts his hands in the air. Immediately drops the gun!
EMIL
I give up!
Jordy is disappointed! He didn't want to take Emil alive.
Hawkins signals to his camera man, who swings his camera at
Jordy as he approaches Emil, his gun aimed at Emil's head.
CUTLER
This man is unarmed, officer. He's
surrendered.
Jordy cracks Emil across the face - knocking him down.
CUTLER (CONT'D)
What are you hitting him for?
JORDY
Turn that camera off!
Jordy handcuffs him. Emil turns to the camera for sympathy,
appearing more hurt than he is.
EMIL
No. Keep filming...
Jordy realizes how media savvy Emil is and understands in
that moment why he's surrendering. Jordy yanks Emil up -
dragging him across the restaurant floor - Emil still
favoring his ankle.
CUTLER
(to Emil)
Don't say anything.
EMIL
Where are we going?
CUTLER
I'm coming with you.
EMIL
Yes. Yes, come with me!
CUTLER
(to Jordy)
I'm invoking rights - this man is
represented by counsel. I'm coming with
him.
The "Top Story" crew is all over them, filming everything.
Cutler stays close to Emil. Making sure he's in the video
footage.
JORDY
Turn that camera off!
EXT. PLANET HOLLWYOOD - CONTINUOUS
As Jordy comes out with a limping Emil, police are arriving.
Tommy, Leon and Murphy run over as Jordy opens the back door
to his car. Leon grabs Emil.
LEON
I'll take him.
JORDY
No way! He's mine!
LEON
(holding on to Emil, squeezing
his arm hard)
We're takin' him. Don't argue!
JORDY
He's my collar!
LEON
Well, he killed my partner!
JORDY
He's yours but I take him in! I'll
drive him to the precinct, you can have
him but I'm walkin' him in.
Leon realizes Jordy wants to be seen on TV taking Emil into
custody.
LEON
Okay, kid, have your 15-minutes. I'll
follow you. Tommy, you ride with him!
Leon stares hatefully into Emil's eyes.
LEON (CONT'D)
You're goin' down, motherfucker, you are
goin' down. I'll be there with a smile
when they put you down!
Cutler hurries to Emil's side.
CUTLER
Don't say a word. Don't respond to his
taunting!
(to Leon)
He's represented by counsel. You want
to speak to someone - you speak to me!
TOMMY
Out of the way, counselor.
Tommy shoves Cutler aside.
CUTLER
Don't you put your hands on me,
Detective.
Jordy pushes Emil in the back seat and slams the door. Leon
turns to Hawkins, whose cameras are filming everything.
LEON
And you, you'll pay for what you did!
HAWKINS
(low)
This footage will work in your favor.
When the jury sees this - no matter what
Cutler tries, they'll convict him.
Leon looks at him. This man used to be his friend.
LEON
You outta be ashamed. Ashamed of
yourself.
HAWKINS
If I didn't put it on somebody else
would! I was his friend!
LEON
Don't give me that fucking shit.
The cameras are rolling.
MURPHY
Don't get into it on TV.
LEON
(yells to other cop cars)
Alright, let's get going!
Leon and the other cops rush to their cars. Jordy is already
behind the wheel. As soon as Tommy jumps in the passenger
seat, Jordy takes off. The cameras film him driving away.
INT. JORDY'S CAR - NIGHT
Jordy takes a left turn, racing away. Running all the
lights.
TOMMY
What are you doin'? You're gonna lose
everybody!
Jordy rips through another turn, heading toward the West Side
Highway. The car speeds up the ramp and races up the left
lane - having lost the police.
TOMMY (CONT'D)
Where are you goin'?? This ain't the
way to the station!
Jordy looks up at Emil in the rear view mirror.
EXT. WEST SIDE HIGHWAY EXIT - CONTINUOUS
Jordy pulls off on 130th Street. They are way uptown in the
middle of nowhere. The car drives down a dark street.
Crumbled, vacant buildings dominate the streets and there are
no people around.
EXT. DESERTED STREET - CONTINUOUS
The car slows down. Tommy watches Jordy, realizes what's
going on. Jordy stops at a dead end. Pulls open the back
door, yanks Emil out and starts to drag him up into the
deserted tunnel.
TOMMY
Jordy...??? Listen to me. You can't do
this. This isn't the way to do things.
Jordy ignores Tommy, slamming him up against the tunnel wall.
JORDY
Were you a fireman? That how you knew
how to rig the apartment?
EMIL
My father was. He gave me many lessons
about fire. Now it's my friend.
JORDY
Tommy, take a walk.
TOMMY
What are you gonna do?
JORDY
Don't you get it? He knew he was gonna
get caught! That's why he videotaped
Eddie's murder - he thinks he's gonna
get off.
TOMMY
Don't stoop to his level!
Jordy tosses the car keys to Tommy.
JORDY
Take the car. Get outta here, Tommy.
TOMMY
Look, you can't shoot him in cold blood.
JORDY
(erupting)
GET OUTTA HERE NOW!! GET IN THAT CAR
AND DRIVE AWAY!!! DO WHAT I SAY OR I'LL
KILL YOU, TOO!!!
Tommy nervously backs up toward Jordy's car. Climbs behind
the wheel and drives away, leaving Jordy and Emil alone in
the darkness. Jordy takes out Eddie's pistol. The one Emil
took from Eddie. Jordy opens the cylinder - two bullets
left. Jordy snaps the cylinder shut, tucks Eddie's gun in
Emil's belt. He drags Emil away from the wall, into the
center of the empty space - unlocks Emil's handcuffs and
throws them aside. Still holding the gun on Emil, he circles
around to face him.
JORDY (CONT'D)
Get your hands up! Get your hands up!
Now facing Emil, he sticks his gun in his waistband - the
same place he put Emil's.
JORDY (CONT'D)
You wanna be a real American? Go for
your gun.
Emil holds his arms out - making it clear he's not going for
the gun.
JORDY (CONT'D)
Pull the gun! You want to be famous?
Shoot me, you'll get more headlines and
make more money.
Emil watches Jordy...a slow grin spreads across his face.
EMIL
You can't kill me. You're not a cop.
Just fireman with a gun. I bet you
never shot anybody in your life.
JORDY
You'll be my first.
Jordy pulls out his 9mm and pushes the barrel right between
Emil's eyes.
EMIL
C'mon. Pull the trigger. Do it. Oh,
look, you're sweating. You don't have
the balls.
JORDY
Get down on your knees.
Emil gets on his knees and starts to sing in Czech. SIRENS
fill the air. Police cars come flying down the street.
JORDY (CONT'D)
Where's your partner?
EMIL
The Sheraton! On Broadway! Room 210.
Go get Oleg. He'll kill you.
Leon runs up. Tommy's relieved to see Jordy didn't kill
Emil.
LEON
Gimme your gun, Jordy. We all want him
dead but you can't do it this way.
Emil is still smiling. Jordy suddenly slams Emil in the
face. Knocking him to the floor. He jumps in his car and
speeds away.
INT. BROADWAY SHERATON - 2ND FLOOR HALLWAY - NIGHT
A room service WAITER wheels a tray with a magnum bottle of
Crystal, with three glasses, toward Oleg's room. Jordy
follows behind him - gun aimed at his back.
WAITER
Do you really need me?
JORDY
Keep your mouth shut. Don't mess this
up.
They reach the room. Jordy flattens himself against the
wall. The waiter KNOCKS.
HOOKER'S VOICE
Who's there?
WAITER
(nervous)
R-room service.
A HOOKER, wrapped in a towel, opens the door a crack, looking
out at the waiter.
HOOKER
Come in.
Jordy whips around the corner - pointing his gun and pushing
the hooker back out of the room. Jordy moves to the bedroom
door. Peers through the crack. Oleg sits on the edge of the
bed in his skivvies with two naked prostitutes. He's hooked
up his videocamera to the TV set and is showing them his
footage of the fire.
OLEG
Look at that. See that shot! Seamless.
No cuts.
(excited)
And look. Look at that transition.
That's filmmaking!! Isn't it great?!
Jordy KICKS in the door - gun raised.
JORDY
Don't move!
Oleg grabs the videocamera. Has on hooker in a head lock and
picks up the other one. He rushes at Jordy - using one of
the hookers for protection.
JORDY (CONT'D)
Drop the girl! Drop her!!
Oleg pushes the hookers at Jordy - knocking Jordy back into
the living room and over the back of the sofa. Oleg rushes
out into the
HOTEL HALLWAY
Oleg runs to the fire exit - Jordy follows, chasing Oleg down
the stairwell.
EXT. BROADWAY - NIGHT
Oleg bursts out a door which opens onto Broadway. He runs
through the crowd - knocking pedestrians aside! Jordy chases
him, gun in hand!
Oleg runs into the street, darting in and out of traffic,
cars braking to a stop. One SLAMS into another.
Jordy leaps over a car, closing in on Oleg. People gawk.
Even in New York, it's odd to see a man being chased in his
underwear. Oleg runs, knocking people aside. He's holding
the camera in his hand. It's on.
JORDY
STOP! STOP THAT MAN!
A UNIFORMED COP turns as Oleg runs right into him. Knocking
him down. Oleg beats him, takes his gun and runs into:
INT. MOVIE THEATER LOBBY - CONTINUOUS
Oleg, gun in hand, runs past the TICKET TAKER at the door.
TICKET TAKER
Hey, come back here!
The ticket taker runs after Oleg who continues past the candy
counter. Jordy rushes in the door.
JORDY
Where is he? Where'd he go?
TICKET TAKER
Middle door.
Jordy continues running through the lobby - past the middle
door - and enters the theater through the far door.
INT. MOVIE THEATER - NIGHT
Jordy enters the theater, crouches down in the aisle. It's a
night scene, the theater is dark. Jordy tries to see faces.
He cuts through a row of seats to the middle aisle.
DRUNK'S VOICE
Kill him! Kill the bastard!
Jordy spins toward the voice - it's a DRUNK. Others start
YELLING for blood!
AUDIENCE
Shoot him! SHOOT!
A GUNSHOT! Jordy ducks! Another GUNSHOT! Jordy realizes
the shots are coming from the screen.
OLEG
Look! Over here!
Jordy turns. Oleg stands up and FIRES at him - trying to
film Jordy's death with a videocamera.
Jordy ducks, then rises up with his gun as Oleg vaults over
the seats, leaping from one to the other, mashing shoulders
and heads, bounding for the screen.
JORDY
Everybody down! Stay DOWN!
Jordy FIRES as the screen villain blasts away. Some in the
audience don't realize the real thing is happening. Oleg
leaps on the stage in front of the screen, illuminated by it.
Jordy runs down the aisle. Oleg FIRES at Jordy. Jordy FIRES
back. People panic - scurrying away - Jordy can't get a
clear shot. Oleg FIRES again, wounding a moviegoer. Jordy
raises up as the theater lights go on...and Oleg is gone!
Jordy jumps on the stage - runs backstage - Oleg has
disappeared.
JORDY (CONT'D)
Shit!
SIRENS are heard from outside. VOICES of cops are heard as
they enter.
CLOSE ON TV
A REPORTER is in Times Square, reports from outside the movie
theater.
REPORTER (ON T.V.)
...and the wild chase through Times
Square ended with the suspect, Oleg
Razgul, escaping. The fire department
has identified the fire marshal involved
in the failed pursuit as Jordy Warsaw.
The channel is changed. PETER ARNETT is reporting the same
story.
PETER ARNETT (ON T.V.)
In a related matter, Mr. Slovak's
attorney, Bruce Cutler - famous for
handling sensational cases - claims his
client is unfit to stand trial.
INT. JAIL CELL - WIDER - DAY
Daphne sitting on a bench in a jail cell. Watching TV
through the bars. She is in the fire department's holding
cell in Brooklyn.
PETER ARNETT (ON T.V.)
In fact, Cutler claimed Mr. Slovak was
not the alleged mastermind behind the
murders.
According to Cutler, Mr. Slovak was
being directed by his partner, who
threatened to kill him if he didn't
follow Mr. Razgul's orders. Cutler told
reporters today that Mr. Razgul did in
fact stab his client.
The scene CUTS TO Cutler's press conference.
CUTLER
My client, Mr. Slovak, is a victim.
What's happened is not his fault. Emil
was under the influence of his partner.
At the trial, you'll see that my client
will be vindicated...
INT. BELLEVUE - MENTAL OBSERVATION UNIT - DAY
The CAMERA WIDENS from the TV set. We are now in an
interview room, a guard is posted outside the room. Emil
sits at a small table - with Cutler. Emil is dressed in
Bellevue clothes. He's handcuffed and his ankle is bandaged.
Emil gives a complimentary nod toward Cutler.
CUTLER
I brought you some letters. It's really
fan mail. Women mostly. One wants to
buy you clothes, another sent a check.
Another wants a check.
EMIL
You bring the cigarettes?
CUTLER
Oh, sure.
Cutler shakes a cigarette out of the pack, stuffs it in
Emil's mouth and lights it for him. Emil has never smoked
before.
CUTLER (CONT'D)
How're they treating you, alright
(Emil is nonresponsive)
I want to get the cuffs off... but
there's a little bit of a problem.
Things out there are very negative right
now for us. We gotta change that
around. Perception is very, very
important. Perception is reality. I
know you're not fuckin' crazy. But it's
important that I get that message out.
Cause that's our only defense in this
case.
Emil leans forward. Cutler retrieves the cigarette from
between his lips.
CUTLER (CONT'D)
I want you to focus on three things:
fear...
He puts the cigarette back in Emil's mouth.
CUTLER (CONT'D)
...delusions and paranoia.
EMIL
I was all of these.
CUTLER
Well, you didn't appreciate the severity
of it until recently. No question about
that.
EMIL
What about Oleg?
CUTLER
Disappeared. They're looking
everywhere. Maybe he went back to
Czechoslovakia.
EMIL
No, he is here. Shit...
CUTLER
Don't worry about him. Think about
yourself.
EMIL
What about my movie rights? Book
rights?
CUTLER
Look, I haven't really focused on that
kind of thing.
EMIL
What's your cut? How much?
CUTLER
I would say...half. Half is fair.
EMIL
(laughs)
No. No way.
CUTLER
But it's...
EMIL
Thirty-percent. No more. Or I call
another lawyer. This is the biggest
case of your life. Don't try to
negotiate. Thirty percent. Say yes or
no.
CUTLER
This is not about money, Emil. I need
your trust in me.
EMIL
What else do you need?
CUTLER
I need to know about your background. I
need to know about your upbringing. Why
you're here.
EMIL
(indicating cigarette)
Give me another one, please.
Cutler stuffs another cigarette in Emil's mouth. Lights it.
CUTLER
Tell me about yourself. What you did as
a young boy... what your parents were
like.
EMIL
My father always degraded me. Killed my
self-esteem. And my mother was blind.
CUTLER
Your mother was blind?
EMIL
Yeah, she went blind giving birth to me.
She went to fucking black market doctor
to induce me.
CUTLER
Back in the Czech Republic?
EMIL
Yeah, yeah...bad doctor gave her bad
drugs which made her go blind. And my
father blamed me for her blindness...
CUTLER
Your father blamed you for your mother's
blindness?
EMIL
Yeah, he hated me from day when I was
born. Put it out. Can you put the
cigarette out?
Cutler takes the cigarette from Emil's lips and extinguishes
it.
EMIL (CONT'D)
That's what he did to me. He put
cigarettes out on me.
CUTLER
Your father put cigarettes out on you?
EMIL
Out on my back when I was a small boy.
CUTLER
Can I see your back?
Emil rises. Cutler comes around and pulls his shirt up. HIS
ENTIRE BACK IS COVERED WITH DISGUSTING PURPLISH WELTS FROM
CIGARETTE BURNS. Cutler recoils - horrified.
CUTLER (CONT'D)
Oh, Jesus.
EMIL
I'm abused. Don't you think?
CUTLER
I don't think it's abuse, I think it's
torture.
INT. FIRE STATION 91 - DUFFY'S OFFICE - DAY
Inside the Arson Squad, Duffy sits behind his desk. Jordy
stands across the table from his Chief. Behind Jordy we can
see Garcia and Korfin outside, listening. Duffy has a
subpoena in his hand.
DUFFY
The public doesn't have any idea what we
do and now you're going to define our
image! This is going to be our Rodney
King!
JORDY
What was I supposed to do? The guy
tried to mug me. I was gonna send a cop
back - I just forgot.
DUFFY
Forgot? You handcuffed a civilian to a
tree?!
JORDY
Chief - I know I screwed up - but this
guy was no innocent civilian.
DUFFY
Well this is gonna end your career and
probably mine.
JORDY
End my career?
DUFFY
How are you going to fight this? Maybe
if Oleg hadn't gotten away and you'd
been on the front page, as a hero, this
thing would be easier to fight. You'd
have the good to weight against the bad!
It's unfortunate that I have to make
decisions based upon your press coverage
but there's nothing I can do! Gimme
your shield.
JORDY
But Chief? Over this??
DUFFY
There's nothing to talk about. Get a
good lawyer. You're suspended until
your trial.
Jordy sighs. Dying inside. He surrenders his shield. Drops
his handcuffs, his pager and his gun. Duffy picks up the gun
- looks at it.
DUFFY (CONT'D)
(pats Jordy's shoulder)
I know you got backup at home. Drop it
off.
Jordy sighs and exits.
INT. IMMIGRATION & NATURALIZATION OFFICE - DAY
Jordy is talking to BILL STERN, a senior special agent. In
another office we see Daphne with two 25-year old ASSISTANT
U.S. ATTORNEYS.
STERN
(to Jordy)
Look, what don't you understand? We've
got a good relationship with the Czech's
and the State Department doesn't want to
cause an incident.
JORDY
But the D.A. needs her as an eyewitness!
STERN
They've got her testimony on videotape.
And even if they do take her to court
immediately after she'll be extradited.
The Czechs want her back. She shot a
cop! I mean, Christ, man, what if Emil
Slovak and Oleg Razgul fled to the Czech
Republic? How would you feel if the
Czechs wouldn't give them back to us?!
Stern looks over at Daphne sitting in another office. Lowers
his voice.
STERN (CONT'D)
And just between us...I was married to a
redhead. They're a jinx. Redheads are
like cross-eyed priests. Stay away from
both.
Jordy gives him a look.
STERN (CONT'D)
You want to see her - go ahead.
Jordy enters the other office. Sits next to Daphne. The
assistant U.S. Attorneys leave.
JORDY
We're gonna fight the extradition.
Daphne takes Jordy's bandaged hand in hers.
DAPHNE
Forget about me. You have enough
problems of your own.
JORDY
...Do you really want me to forget about
you?
DAPHNE
I don't want to drag you down with me.
JORDY
Daphne, I...
Daphne touches her finger to his lips.
DAPHNE
Shhhh.
She leans in and kisses him. Then looks into his eyes,
trying to find a smile.
EXT. FEDERAL COURT HOUSE STEPS - DAY
It's weeks later. Nicolette is looking worn, tired,
frazzled. She's trying to go through her stand up. But
she's unraveling. Not recovered from the loss of Eddie.
NICOLETTE
...and today with his partner who he
blamed for the crimes still at large,
Emil Slovak will appear in court. His
lawyer will argue that he is mentally
unfit to stand trial. Eyewitness News
has also learned that later this month,
Jordy Warsaw will himself be appearing
in court. He will be arraigned on
charges of violating the civil rights
of...Zwangen...Zwagen...
MIKE
Zwangendaba.
NICOLETTE
Goddamn assholes everywhere.
Zwangenbobby..Zwangendaba. I got it.
I'll do it. Shit. Let's start again.
5-4-3-2-1...
She starts over.
INT. JORDY'S APARTMENT - NIGHT
Jordy's on the couch. A drink in his hand, watching TV with
his dog, ZACK. Jordy's eyes are glazed. He's drunk, his
eyes are as bloodshot as Eddie's were...without his job or
Daphne.
His mind miles away - the dog and drink are his only comfort.
As Nicolette reports (she got the name right), her anger
seeps through her broadcast.
NICOLETTE (ON T.V.)
Mr. Zwangendaba claims to be a direct
descendent of the African King from whom
he takes his name...
Jordy's face is flashed on screen. The phone RINGS. Jordy
picks up.
JORDY
Hello?
(listens)
No comment.
He hangs up. The phone RINGS AGAIN.
JORDY (CONT'D)
Hello?
(listens)
No!
Jordy hangs up. Changes the channel. He stops as Robert
Hawkins' face fills the screen. He is standing across from
someone - in a park - interviewing him.
HAWKINS (ON T.V.)
He robbed you?
The ANGLE CUTS to Zwangendaba, the mugger, now dressed in a
suit and tie. Clean shaven and with a fresh haircut. He
stands in the same spot where Jordy handcuffed him to the
tree. He's appearing on "Top Story".
ZWANGENDABA (ON T.V.)
That's right, I encountered him right
here. I was just askin' for change an'
he whips out his big gun an' pushes me
up against that tree, whereupon he takes
my money and handcuffs me to it, leavin'
me there all exposed...
The phone RINGS again. Jordy suddenly pulls the phone off
the table and throws it through the window:
BACK TO TV
as the channel is changed. A REPORTER is on TV. Behind him
is a picture of Emil. Emil is smiling, in a shirt and tie.
The reporter stands in front of the jail.
REPORTER
...and WBAI has learned that Mr. Slovak
won't have to worry about how he is
going to pay for his defense. He has
received movie offers and been in
conversations with numerous publishers
concerning the rights to his life story.
REVERSE ANGLE
Oleg is at a bar watching TV. Poisoned with envy.
INT. JORDY'S BEDROOM - NEXT MORNING
Jordy stands in front of the mirror over the dresser. We see
the TV overturned in the b.g. His back up gun is on it. He
stares at it. Dark thoughts dancing in his head.
EXT. BATTERY PARK - DAY
Jordy sits in a taxi, wearing sunglasses. Looking inside the
park where a POLICE BARRICADE surrounds a POLICE TUGBOAT.
Cutler and Emil are arriving - Emil is being transferred to
Rykers Island. Jordy pulls his .38 out of his ankle holster
and sticks it in his pocket.
CLOSE ON METER
to $42.00. The TAXI DRIVER looks in the rearview mirror.
TAXI DRIVER
I can't believe this guy got off.
Unbelievable.
Jordy takes out money. All he's got is fifty bucks and he
crams it into the slot.
JORDY
Whatever's leftover, keep.
Jordy exits the cab. The anger rising inside his body is
coming to a boiling point. He walks into the park. Leon is
sitting on a bench. Just sitting there. Also filled with
rage and frustration. Jordy meets his eyes. Leon gets up
and walks away. Disgusted by it all. Jordy's right hand
grips the gun inside his pocket as he walks on.
HIGH WIDE SHOT
Many policemen are trying to control a swarm of reporters.
All are waiting for Emil. WE SEE:
HAWKINS
and his camera crew, and, not far from him - frustrated and
frazzled, waits Nicolette. Still grieving her loss, she
looks over at Hawkins and his crew. She shoots him a
disgusted look - Hawkins shrugs it off. He checks his watch -
anxious - looks at his cameraman.
HAWKINS
He said he'd be here. Pick him up as he
comes through the crowd. Do you hear
me? For Chrissakes don't miss this.
THE POLICE VAN PULLS UP
Cutler's car behind it. Emil - handcuffed - is unloaded from
the van. Reporters swarm forward - Cutler gets out of his
car, hurrying up, taking his place alongside Emil and the
POLICE ESCORTS. The swarm follows - firing questions at
Cutler. He answers the barrage of questions with:
CUTLER
...my client was suffering from a major
illness of schizophrenic nature wherein
during times of intense stress, as a
result of paranoid and psychotic
delusions - there was impairment of his
ability to appreciate wrongfullness...
This is a victory for the mentally ill!
Jordy walks alongside the moving mass. His eyes focused on
Emil - his hand in his pocket. We notice in the crowd Max,
the celebrity-crazed pyromaniac. What's he doing here?
Max's hand is also stuck deeply in his pocket. A weird gleam
in his eye. We see Korfin in the group, speaking to other
cops. Nicolette and her camera crew are vying for their
place in the mass. She watches Emil with quiet rage. Cutler
continues:
CUTLER (CONT'D)
...before Emil boards the police boat
and heads for Rykers Island where he
will be checked into the psyche ward, I
want to say one last word to you all...
As you know, Emil was coerced by Oleg
Razgul into committing these murders,
yet Oleg is still out in the street, a
free man, filming gruesome murders... My
client and I hope he is brought to
justice in the near future.
They are through the monuments, approaching the steps when
Jordy passes a distracted Hawkins - who's checking his watch
obsessively.
HAWKINS
Where the hell is he? Goddamn it?!
Jordy glares at Emil. Emil looks back at Jordy, gloating.
Smiles. He won. He beat the system. Jordy suddenly erupts.
JORDY
You think this is funny?? What the hell
are you laughing at?
Emil stares down Jordy. Jordy grips the gun inside the
jacket.
CUTLER
(to a nearby escort)
Officer, keep this man back, he's
assaulted my client on previous
occasions.
A PATROLMAN blocks Jordy from Emil.
JORDY
This is it? This bastard kills the best
cop this city ever had and we do
nothing?
CUTLER
You may not like it marshal, but that's
the law.
JORDY
And what about the other victims?? What
about their families? He'll end up in
some country club nuthouse while his
lawyer sells his rights to the movies
and we just stand here and do nothing?
We let this scumbag walk?
Jordy moves past the officer. Emil breaks away from Cutler.
Gets in Jordy's face. Laughs quietly.
EMIL
Be careful. I can kill you. I'm
insane.
Jordy shoves Emil into Cutler. A scuffle breaks out as the
cops separate the two - pulling Jordy back as we cut to:
A VIDEO POV
as it approaches Hawkins from behind. A hand dips into frame
tapping Hawkins on the shoulder. Hawkins turns - sees who
he's been waiting for. His face lights up.
HAWKINS
I thought you wouldn't show up. Where
is it? Where is the tape?
IT'S OLEG
In disguise - sunglasses and a hat. Holding his videocamera.
OLEG
It's all in here. All in here.
MEANWHILE JORDY
has been separated from Cutler and Emil as Hawkins' voice
cuts above the din of the crowd, announcing excitedly:
HAWKINS
Wait a minute, Bruce! We've got some
interesting evidence, something you
should look at!
Reporters turn as Hawkins speaks. His crew is taping as he
continues introducing his broadcast:
HAWKINS (CONT'D)
I have exclusive rights to the ORIGINAL
UNCUT videotape shot by Oleg Razgul,
proving Emil Slovak was not insane!
Hard to believe...watch!
Reporters swing their cameras over as Oleg holds his
videocamera up in the air.
OLEG (ON VIDEO)
He knew exactly what he was doing - all
of this was planned! It's all here in
my movie. Emil is not insane. Look.
Look!
Oleg PLAYS his videocamera as lenses focus, we see excerpts
of the moment where Emil explains to Eddie:
EMIL (ON VIDEO)
...so we kill someone famous and if we
are caught, we are sent to mental
hospital...
CUTLER
(points to Oleg)
Officers, there's your killer, do your
duty, arrest him!
The police are attempting to get to Oleg, but a sea of
reporters separate them. We hear the staccato calls from the
press corps. Nicolette looks on in amazed outrage. Jordy
notices and starts moving towards her. Before the POLICE
CAPTAIN in charge of the detail can react, the rage which
killed Milos, Tamina and Honey wells up inside Emil. He
yells at Oleg!
EMIL
Traitor!!
OLEG
No. You are the traitor. You are
murderer. I am director. Action!
Oleg pulls his gun. Emil pulls Cutler in front of him as:
BANG!
Oleg FIRES! Cutler is SHOT and goes down. Hawkins swings
his camera over to Oleg - filming the would-be assassin.
Oleg FIRES off another SHOT - hitting the COURT OFFICER
escorting Emil. Emil grabs the down officer's gun. He
swivels - rapid fires at Oleg. Oleg topples. People are
screaming. It's CHAOS.
Emil darts forward - grabbing Nicolette who is closes to him.
He puts his handcuffed arms over her head - points the gun at
her head.
CAPTAIN
Drop the gun! DON'T SHOOT!
EMIL
I'll kill her! Back off! Everyone back
away from me!
We hear Jordy's voice above Emil.
JORDY
Let her go. Let her fucking go!!
The captain is screaming at all his men.
CAPTAIN
No one shoot! Lower your weapons! Do
not fire! No officer will fire his
weapon unless I say so!
(to Emil)
Let the woman go!
Cops reluctantly lower their weapons. But Jordy is still
aiming his gun at Emil. He is the only one who hasn't
lowered his gun. The captain is yelling at him.
CAPTAIN (CONT'D)
Holster your weapons! Back away. That
is an order! No officers will fire!
Emil is screaming back at the captain as Jordy screams at
Emil.
EMIL
Tell him to put his gun down!
JORDY
Let her go! Let her go!!
EMIL
If he doesn't lower his gun I'll fucking
kill her.
Jordy doesn't lower his gun. Emil tries to back away. The
reporters - who have ducked and covered - are still keeping
their lenses pointed at the scene. This is great film!
Jordy follows after Emil - his gun raised.
JORDY
Let her go.
NICOLETTE
Shoot! Shoot him!!
EMIL
Shut up!
Meanwhile, the captain is still yelling:
CAPTAIN
No on shoot! No one shoot!! No officer
will follow. No officer will shoot!
Nicolette is still encouraging Jordy.
NICOLETTE
Shoot! Shoot! Shoot him!!
EMIL
Shut up!
Everyone is screaming at once. It's mass chaos. The captain
is trying to keep everyone calm. Cops following along with
their weapons lowered. All except Jordy - his gun still
pointed at Emil.
Hawkins can't believe what footage he's getting. He's
pushing his cameraman to the front of the pack. Trying to
get the best coverage.
EMIL (CONT'D)
I'll surrender!! I'll surrender if he
lowers his gun.
He's pointing at Jordy but he's continuing to back away
towards the police boat.
NICOLETTE
Don't. Don't let him surrender. Shoot
him!
Jordy won't take his gun off him.
JORDY
Let her go. Let her go.
The captain is yelling at Jordy.
CAPTAIN
Lower your weapon. I told you - lower
your weapon!
Jordy struggles to get a clean shot at Emil. He can't. His
heart pounding. Adrenaline pumping. He suddenly lowers his
weapon. Turns away. The captain visibly relaxes. Emil
laughs. Jordy suddenly turns back. Quickly raises his
weapon.
JORDY SHOOTS
Emil takes a shot in the leg. Nicolette ducks under the
handcuffs and scurries away. Emil looks at Jordy - surprised
he shot him. Jordy FIRES AGAIN. Emil is hit in the
shoulder. Jordy marches forward, EMPTYING HIS CLIP in Emil's
chest. Abdomen. Head. Gun fire echoes in the humid air as
Emil stumbles back. Does a funny dance and drops to the
ground. Dead. The captain yells.
CAPTAIN (CONT'D)
I told you not to shoot! No officers
should shoot.
Jordy quietly answers:
JORDY
I'm not a cop. I'm a fire marshal.
HAWKINS
He's still alive.
Hawkins looks down at Oleg. He is sprawled on the ground.
His videocamera in hand - he's still making the movie.
OLEG'S VIDEO POV
as it ZOOMS from the Statue of Liberty and PANS to Oleg. He
looks in the lens with his dying eyes, gasps:
OLEG
A film...by Oleg Razgul.
And Oleg dies but suddenly his eyes pop WIDE OPEN. Hawkins
jumps back, Oleg smiles, coughing in pain.
OLEG (CONT'D)
How was that?
Oleg's head rolls to one side. Now dead. Nicolette runs
over to Jordy. Composing herself. Coming together. Glad
Emil is dead. Jordy starts to walk away.
NICOLETTE
Wait a minute. Where are you going?
Learn from Eddie. Talk to the court of
public opinion. Take the credit, you
need it.
She turns him around. Straightens his tie. Starts to push
the hair out of his face but he stops her hand.
JORDY
No thanks.
Jordy puts something in her hand. She looks down. It's
EDDIE'S BADGE. The one Jordy took out of Daphne's bathroom.
She looks up at him. Her cameraman rolling. The lens
pointed at Jordy. Jordy looks at Nicolette. Meets her eyes.
He doesn't want to make a statement. He still doesn't want
the fame. He did learn from Eddie. Eddie was killed because
he was a celebrity. Jordy wants no part of it.
NICOLETTE
Cut.
Her cameraman lowers his leans. Jordy smiles. She nods.
Jordy turns and walks away.
NICOLETTE (CONT'D)
Get a shot of him leaving. Then pan to
me.
Jordy disappears into the sea of people. The camera PANS
back to Nicolette.
NICOLETTE (CONT'D)
Well, he wouldn't talk to us, but you
saw it.
The CAMERA PULLS BACK from Nicolette's face and the video is
now on:
THE JUMBOTRON IN TIMES SQUARE
We PULL BACK FURTHER and FURTHER. Nicolette finishing her
stand up:
NICOLETTE (CONT'D)
New York City has a new hero, Fire
Marshal Jordan Warsaw. I hope that Fire
Marshal Warsaw's heroic actions this
afternoon will help with his other legal
problems. WB11 has also learned that
the fire Marshal has retained an
immigration lawyer to help Daphne
Handlova with her case. We wish her
well. This is Nicolette Karas, live at
Battery Park, WB11 New York. Good
night.
THE SCREEN
FADES TO BLACK.
</pre>
</html>
Note from poster to Kubrick newsgroup:
I found this on a bbs a while ago and I thought I'd pass it along to all
of you Kubrick freaks out there.
02/23/89
Transcriber's note:
For all you Clarke/Kubrick/2001 fans,
I found the original paper copy of this screenplay a while back and felt
compelled to transcribe it to disk and upload it to various bulletin
boards for the enjoyment of all.
The final movie deviates from this screenplay in a number of interesting
ways. I've tried to maintain the format of the original document except
the number of lines per page of the original. In order to reduce the
length of this file I've used a bar of "------" to delimit the pages as
there was a lot of whitespace per original screenplay page.
------------------------------------------------------------------------
2001: A SPACE ODYSSEY
Screenplay
by
Stanley Kubrick and Arthur C. Clark
Hawk Films Ltd.,
c/o. M-G-M Studios,
Boreham Wood,
Herts.
------------------------------------------------------------------------
TITLE PART I
AFRICA
3,000,000 YEARS AGO
------------------------------------------------------------------------
A1
VIEWS OF AFRICAN DRYLANDS - DROUGHT
The remorseless drought had lasted now for ten million years,
and would not end for another million. The reign of the ter-
rible lizards had long since passed, but here on the continent
which would one day be known as Africa, the battle for survival
had reached a new climax of ferocity, and the victor was not
yet in sight. In this dry and barren land, only the small or
the swift or the fierce could flourish, or even hope to exist.
10/13/65 a1
------------------------------------------------------------------------
A2
INT & EXT CAVES - MOONWATCHER
The man-apes of the field had none of these attributes, and
they were on the long, pathetic road to racial extinction.
About twenty of them occupied a group of caves overlooking
a small, parched valley, divided by a sluggish, brown stream.
The tribe had always been hungry, and now it was starving.
As the first dim glow of dawn creeps into the cave, Moonwatcher
discovers that his father has died during the night. He did not know
the Old One was his father, for such a relationship was beyond
his understanding. but as he stands looking down at the emac-
iated body he feels something, something akin to sadness. Then
he carries his dead father out of the cave, and leaves him for the
hyenas.
Among his kind, Moonwatcher is almost a giant. He is nearly
five feet high, and though badly undernourished, weighs over
a hundred pounds. His hairy, muscular body is quite man-like,
and his head is already nearer man than ape. The forehead is
low, and there are great ridges over the eye-sockets, yet he
unmistakably holds in his genes the promise of humanity. As
he looks out now upon the hostile world, there is already
10/13/65 a2
------------------------------------------------------------------------
A2
CONTINUED
something in his gaze beyond the grasp of any ape. In those
dark, deep-set eyes is a dawning awareness-the first intima-
tions of an intelligence which would not fulfill itself for another
two million years.
10/13/65 a3
------------------------------------------------------------------------
A3
EXT THE STREAM - THE OTHERS
As the dawn sky brightens, Moonwatcher and his tribe reach
the shallow stream.
The Others are already there. They were there on the other
side every day - that did not make it any less annoying.
There are eighteen of them, and it is impossible to distinguish
them from the members of Moonwatcher's own tribe. As
they see him coming, the Others begin to angrily dance and
shriek on their side of the stream, and his own people reply
In kind.
The confrontation lasts a few minutes - then the display dies
out as quickly as it has begun, and everyone drinks his fill of
the muddy water. Honor has been satisfied - each group has
staked its claim to its own territory.
10/13/65 a4
------------------------------------------------------------------------
A4
EXT AFRICAN PLAIN - HERBIVORES
Moonwatcher and his companions search for berries, fruit
and leaves, and fight off pangs of hunger, while all around
them, competing with them for the samr fodder, is a potential
source of more food than they could ever hope to eat. Yet
all the thousands of tons of meat roaming over the parched
savanna and through the brush is not only beyond their reach;
the idea of eating it is beyond their imagination. They are
slowly starving to death in the midst of plenty.
10/13/65 a5
------------------------------------------------------------------------
A5
EXT PARCHED COUNTRYSIDE - THE LION
The tribe slowly wanders across the bare, flat country-
side foraging for roots and occasional berries.
Eight of them are irregularly strung out on the open plain,
about fifty feet apart.
The ground is flat for miles around.
Suddenly, Moonwatcher becomes aware of a lion, stalking
them about 300 yards away.
Defenceless and with nowhere to hide, they scatter in all
directions, but the lion brings one to the ground.
10/13/65 a6
------------------------------------------------------------------------
A6
EXT DEAD TREE - FINDS HONEY
It had not been a good day, though as Moonwatcher had no
real remembrance of the past he could not compare one day
with another. But on the way back to the caves he finds a
hive of bees in the stump of a dead tree, and so enjoys the
finest delicacy his people could ever know. Of course, he
also collects a good many stings, but he scacely notices
them. He is now as near to contentment as he is ever
likely to be; for thought he is still hungry, he is not actually
weak with hunger. That was the most that any hominid could
hope for.
10/13/65 a7
------------------------------------------------------------------------
A7
INT & EXT CAVES - NIGHT TERRORS
Over the valley, a full moon rises, and a cold wind blows down
from the distant mountains. It would be very cold tonight -
but cold, like hunger, was not a matter for any real concern;
it was merely part of the background of life.
This Little Sun, that only shone at night and gave no warmth,
was dangerous; there would be enemies abroad. Moonwatcher
crawls out of the cave, clambers on to a large boulder besides
the entrance, and squats there where he can survey the valley.
If any hunting beast approached, he would have time to get back
to the relative safety of the cave.
Of all the creatures who had ever lived on Earth, Moonwatcher's
race was the first to raise their eyes with interest to the Moon,
and though he could not remember it, when he was young,
Moonwatcher would reach out and try to touch its ghostly face.
Now he new he would have to find a tree that was high
enough.
He stirs when shrieks and screams echo up the slope from
one of the lower caves, and he does not need to hear the
10/13/65 a8
------------------------------------------------------------------------
A7
CONTINUED
occasional growl of the lion to know what is happening. Down
there in the darkness, old One-Eye and his family are dying,
and the thought that he might help in some way never crosses
Moonwatcher's mind. The harsh logic of survival rules out
such fancies. Every cave is silent, lest it attract disaster.
And in the caves, in tortured spells of fitful dozing and
fearful waiting, were gathered the nightmares of generations
yet to come.
10/13/65 a9
------------------------------------------------------------------------
A8
EXT THE STREAM - INVASION
The Others are growing desperate; the forage on their side of
the valley is almost exhausted. Perhaps they realise that
Moonwatcher's tribe has lost three of its numbers during the
night, for they choose this mourning to break the truce. When
they meet at the river in the still, misty dawn, there is a
deeper and more menacing note in their challenge. The noisy
but usually harmless confrontation lasts only a few seconds
before the invasion begins.
In an uncertainly-moving horde, the Others cross the river,
shieking threats and hunched for the attack. They are led
by a big-toothed hominid of Moonwatcher's own size and age.
Startled and frightened, the tribe retreats before the first
advance, throwing nothing more substantial than imprecations
at the invaders. Moonwatcher moves with them, his mind a
mist of rage and confusion. To be driven from their own
territory is a great badness, but to lose the river is death.
He does not know what to do; it is a situation beyond his
experience.
Then he becomes dimly aware that the Others are slowing
10/13/65 a10
------------------------------------------------------------------------
A8
CONTINUED
down, and advancing with obvious reluctance. The further they
move from their own side, the more uncertain and unhappy
they become. Only Big-Tooth still retains any of his original
drive, and he is rapidly being seperated from his followers.
As he sees this, Moonwatcher's own morale immediately
revives. He slows down his retreat, and begins to make
reassuring noises to his companions. Novel sensations fill
his dim mind - the first faint precursors of bravery and
leadership.
Before he realizes it, he is face to face with Big-Tooth, and
the two tribes come to a halt many paces away.
The disorganized and unscientific conflict could have ended
quickly if either had used his fist as a club, but this
innovation still lay hundreds of thousands of years in the
future. Instead, the slowly weakening fighters claw and
scratch and try to bite each other.
Rolling over and over, they come to a patch of stony ground,
and when they reach it Moonwatcher is on top. By chance,
10/13/65 a11
------------------------------------------------------------------------
A8
CONTINUED
he chooses this moment to grab the hair on Big-Tooth's scalp,
and bang his head on the ground. The resulting CRACK is
so satisfactory, and produces such an immediate weakening
In Big - Tooth's resistance, that he quickly repeats it.
Even when Big-Tooth ceases to move for some time, Moon-
watcher keeps up the exhilirating game.
With shrieks of panic, the Others retreat back, across the
stream. The defenders cautiously pursue them as far as
The water's edge.
10/13/65 a12
------------------------------------------------------------------------
EXT CAVE - NEW SOUND
Dozing fitfully and weakened by his stuggle, Moonwatcher is
startled by a sound.
He sits up in the fetid darkness of the cave, straining his
senses out into the night, and fear creeps slowly into his soul.
Never in his life - already twice as long as most members of
his species could expect - has he heard a sound like this. The
great cats approached in silence, and the only thing that
betrayed them was a rare slide of earth, or the occasional
cracking of a twig. Yet this is a continuing crunching noise
that grows steadily louder. It seemed that some enormous
beast was moving through the night, making no attempt at
concealment, and ignoring all obstacles.
And then there came a sound which Moonwatcher could not
possibly have identified, for it had never been heard before
in the history of this planet.
10/13/65 a13
------------------------------------------------------------------------
A10
EXT CAVE - NEW ROCK
Moonwatcher comes face to face with the New Rock when he
leads the tribe down to the river in the first light of morning.
He had almost forgotten the terror of the night, because nothing
had happened after that initial noise, so he does not even
associate this strange thing with danger or with fear. There
is nothing in the least alarming about it.
It is a cube about fifteen feet on a side, and it is made of
some completely transparent material; indeed, it is not easy
to see except when the light of the sun glints on its edges.
There are no natural objects to which Moonwatcher can
compare this apparition. Though he is wisely cautious
of most new things, he does not hesitate to walk up to it.
As nothing happens, he puts out his hand, and feels a warm,
hard surface.
After several minutes of intense thought, he arrives at a
brilliant explanation. It is a rock, of course, and it
must have grown during the night. There are many plants
that do this - white, pulpy things shaped like pebbles, that
seem to shoot up in the hours of darkness. It is true that
they are small and round, whereas this is large and square;
10/13/65 a14
------------------------------------------------------------------------
A10
CONTINUED
but greater and later philosophers than Moonwatcher would be
prepared to overlook equally striking exceptions to their laws.
This really superb piece of abstract thinking leads Moonwatcher
to a deduction which he immediately puts to the test. The white,
round pebble-plants are very tasty (though there were a few
that made one violently sick); perhaps this square one...?
A few licks and attempted nibbles quickly disillusion him.
There is no nourishment here; so like a sensible hominid, he
continues on his way to the river and forgets all about the Cube.
10/13/65 a15
------------------------------------------------------------------------
A11
EXT CUBE - FIRST LESSON
They are still a hundred yards from the New Rock when the
sound begins.
It is quite soft, and it stops them in their tracks, so that they
stand paralyzed on the trail with their jaws hanging. A simple,
maddeningly repetitious rhythm pulses out of the crystal cube
and hypnotises all who come within its spell. For the first
time - and the last, for two million year - the sound of
drumming is heard in Africa.
The throbbing grows louder, more insistent. Presently the
hominids begin to move forward like sleep-walkers, towards
the source of that magnetic sound. Sometimes they take little
dancing steps, as their blood responds to the rhythms that
their descendants will not create for ages yet.
Totally entranced, they gather around the Cube, forgetting
the hardships of the day, the perils of the approaching dusk,
and the hunger in their bellies.
Now, spinning wheels of light begin to merge, and the spokes
fuse into luminous bars that slowly recede into the distance,
10/13/65 a16
------------------------------------------------------------------------
A11
CONTINUED
rotating on their axes as they do; and the hominids watch, wide-
eyed, mesmerized captives of the Crystal Cube.
Then by some magic - though it was no more magical than all
that had gone on before - a perfectly normal scene appears. It
is as if a cubical block had been carved out of the day and
shifted into the night. Inside that block is a group of four
hominids, who might have been members of Moonwatcher's
own tribe, eating chunks of meat. The carcass of a wart-hog
lies near them.
This little family of male and female and two children is gorged
and replete, with sleek and glossy pelts - and this was a
condition of life that Moonwatcher had never imagined. From
time to time they stir lazily, as they loll at ease near the
entrance of their cave, apparently at peace with the world.
The spectacle of domestic bliss merges into a totally
different scene.
The family is no longer reposing peacefully outside its cave;
it is foraging, searching for food like any normal hominids.
10/13/65 a17
------------------------------------------------------------------------
A11
CONTINUED
A small wart-hog ambles past the group of browsing humanoids
without giving them more than a glance, for they had never been
the slightest danger to its species.
But that happy state of affairs is about to end. The big male
suddenly bends down, picks up a heavy stone lying at his feet -
and hurls it upon the unfortunate pig. The stone descends upon
its skull, making exactly the same noise that Moonwatcher had
produced in his now almost forgotten encounter with Big-Tooth.
And the result, too, is much the same - the warthog gives one
amazed, indignant squeal, and collapses in a motionless heap.
Then the whole sequence begins again, but this time it unfolds
itself with incredible slowness. Every detail of the movement
can be followed; the stone arches leisurely through the air, the
pig crumples up and sinks to the ground. There the scene
freezes for long moments, the slayer standing motionless
above the slain, the first of all weapons in his hand.
The scene suddenly fades out. The cube is no more than a
glimmering outline in the darkness; the hominids stir, as if
10/13/65 a18
------------------------------------------------------------------------
A11
CONTINUED
awakening from a dream, realise where they are, and scuttle
back to their caves.
They have no concious memory of what they had seen; but that
night, as he sits brooding at the entrance of his lair, his ears
attuned to the noises of the world around him, Moonwatcher
feels the first faint twinges of a new and potent emotion - the urge
to kill. He had taken his first step towards humanity.
10/13/65 a19
------------------------------------------------------------------------
A12
EXT cave AND PLAINS - Utopia
Babies were born and sometimes lived; feeble, toothless thirty-
year-olds died; the lion took its toll in the night; the Others
threatened daily across the river - and the trib prospered.
In the course of a single year, Moonwatcher and his companions
had changed almost beyond recognition.
They had become as plump as the family in the Cave, who no
longer haunted their dreams. They had learned their lessons
well; now they could handle all the stone tools and weapons that
the Cube had revealed to them.
They were no longer half-numbed with starvation, and they
had time both for leisure and for the first rudiments of thought.
Their new way of life was casually accepted, and they did
not associate it in any way with the crystal cube still standing
outside their cave.
But no Utopia is perfect, and this one had two blemishes. The
first was the marauding lion, whose passion for hominids
seemed to have grown even stronger now that they were better
nourished. The second was the tribe across the river; for
10/13/65 a20
------------------------------------------------------------------------
A12
CONTINUED
somehow the Others had survived, and had stubbornly refused to
die of starvation.
10/13/65 a21
------------------------------------------------------------------------
A13
EXT CAVES - KILLING THE LION
With the partly devoured carcass of a warthog laid out on the
ground at the point he hope the boulder would impact, Moon-
watcher and three of his bravest companions wait for two
consecutive nights. On the third the lion comes,
betraying his presences by a small pebble slide.
When they can here the lion below, softly tearing at the meat,
they strain themselves against the massive boulder. The sound
of the lion stops; he is listening. Again they silently heave
against the enormous stone, exerting the final limits of their
strength. The rock begin to tip to a new balance point.
The lion twitches alert to this sound, but having no fear of these
creatures, he makes the first of two mistakes which will cost
him his life; he goes back to his meal.
The rock moves slowly over the ledge, picking up speed with
amazing suddeness. It strikes a projection in the cliff about
fifteen feet above the ground, which deflects its path outward.
Just at this instant, the lion reacts instinctively and leaps
away from the face of the cliff directly into the path of the
10/13/65 a22
------------------------------------------------------------------------
A13
CONTINUED
onrushing boulder. He has combined the errors of over-
confidence and bad luck.
The next morning they find the lion in front of the cave. They
also find one of their tribe who had incautiously peeped out to
see what was happening, and was apparently killed by a small
rock torn loose by the boulder; but this was a small price to
pay for such a great victory.
* * * * * * * *
And then one night the crystal cube was gone, and not even
Moonwatcher ever thought of it again. He was still wholly
unaware of all that it had done.
10/13/65 a23
------------------------------------------------------------------------
A14
EXT STREAM - MASTER OF THE WORLD
From their side of the stream, in the never violated safety of
their own territory, the Others see Moonwatcher and fourteen
males of his tribe appear from behind a small hillock over-
looking the stream, silhouetted against the dawn sky.
The Others begin to scream their daily challenge. But today
something is different, though the Others do not immediatly
recognize this fact.
Instead of joining the verbal onslaught, as they had always done,
Moonwatcher and his small band decended from the rise, and
begin to move forward to the stream with a quiet purposefulness
never befor seen.
As the Others watch the figures silently approaching in the
morning mist, they become aware of the terrible strangness
of this encounter, and their rage gradually subsides down to
an uneasy silence.
At the water's edge, Moonwatcher and his band stop. They
carry their bone clubs and bone knives.
10/13/65 a24
------------------------------------------------------------------------
A14
CONTINUED
Led by One-ear, the Others half-heartly resume the battle-
chant. But they are suddenly confrunted with a vision that cuts
the sound from their throats, and strikes terror into their
hearts.
Moonwatcher, who had been partly concealed by two males who
walked before him, thrusts his arm high into the air. In his
hand he holds a stoud tree branch. Mounted atop the branch is
the bloody head of the lion, its mouth jammed open with a stick,
displaying its frightful fangs.
The Others gape in fearful disbelief at this display of power.
Moonwatchers stands motionless, thrusting the lion's head high.
Then with majestic deliberation, still carrying his mangled
standard above his head, he begins to cross the stream, followed
by his band.
The Others fade back from the stream, seeming to lack even
the ability to flee.
Moonwatcher steps ashore and walks to One-Ear, who stands
10/13/65 a25
------------------------------------------------------------------------
A14
CONTINUED
unsurely in front of his band.
Though he is a veteran of numerous combats at the water's edge,
One-Ear has never been attacked by an enemy who had not first
displayed his fighting rage; and he had never before been attacked
with a weapon. One-Ear, merely looks up at the raised club
until the heavey thigh bone of an antelope brings the darkness
down around him.
The Others stare in wonder at Moonwatcher's power.
Moonwatcher surveys the scene. Now he was master of the
world, and he was not sure what to do next. But he would
think of something.
10/13/65 a26
------------------------------------------------------------------------
A SECTION TIMING
A1 00.30
A2 00.45
A3 01.30
A4 00.30
A5 01.00
A6 01.00
A7 01.00
A8 03.00
A9 00.45
A10 02.00
A11 04.00
A12 02.00
A13 02.30
A14 02.30
A SECTION TOTAL: @23 MIN. 00 SECS
------------------------------------------------------------------------
TITLE PART II
YEAR 2001
a26a
------------------------------------------------------------------------
B1
EARTH FROM 200 MILES UP NARRATOR
By the year 2001, overpopulation has
B1a replaced the problem of starvation
THOUSAND MEGATON but this was ominously offset by the
NUCLEAR BOMB IN ORBIT absolute and utter perfection of the
ABOVE THE EARTH, weapon.
RUSSIAN INSIGNIA AND
CCCP MARKINGS
B1b NARRATOR
AMERICAN THOUSAND Hundreds of giant bombs had been
MEGATON BOMB IN ORBIT placed in perpetual orbit above the
ABOVE THE EARTH. Earth. They were capable of
incinerating the entire Earth's
surface from an altitude of 100
miles.
B1c
FRENCH BOMB NARRATOR
Matters were further complicated
by the presence of twenty-seven
nations in the nuclear club. There
had been no deliberate or acciden-
B1d tal use of nuclear weapons since
GERMAN BOMB World War II and some people felt
sercure in this knowledge. But to
others, the situation seemed
comparible to an airline with a
B1f perfect safety record; in showed
CHINESE BOMB admirable care and skill but no
one expected it to last forever.
10/4/65 b1
------------------------------------------------------------------------
B2
ORION-III SPACECRAFT
IN FIGHT AWAY FROM
EARTH, 200 MILES
ALTITUDE.
10/4/65 b2
------------------------------------------------------------------------
B3
ORION-III PASSENGER AREA.
DR. HEYWOOD FLOYD IS THE
ONLY PASSENGER IN THE
ELEGANT CABIN DESIGNED
FOR 30 PEOPLE. HE IS
ASLEEP.
HIS PEN FLOATS NEAR HIS
HAND.
10/4/65 b3
------------------------------------------------------------------------
B4
ORION-III COCKPIT.
PILOT, CO-PILOT.
FLOYD CAN BE SEEN
ASLEEP ON A SMALL
TV MONITOR.
STEWARDESS IS PUTTING
ON LIPSTICK. SHE SEES
PEN.
10/4/65 b4
------------------------------------------------------------------------
B5
STEWARDESS GOES BACK
TO PASSENGER AREA,
RESCUES PEN AND CLIPS
IT BACK IN FLOYD'S
POCKET.
10/4/65 b5
------------------------------------------------------------------------
B6
SPACE STATION-5. THE
RAW SUNLIGHT OF SPACE
DAZZLES FROM THE
POLISHED METAL SURFACES
OF THE SLOWLY REVOLVING,
THOUSAND-FOOT DIAMETER
SPACE STATION. DRIFTING
IN THE SAME ORBIT, WE SEE
SWEPT-BACK TITOV-V
SPACECRAFT. ALSO THE
ALMOST SPHERICAL ARIES-IB
10/4/65 b6
------------------------------------------------------------------------
B7
ORION-III PASSENGER AREA
FLOYD AWAKE BUT GROGGY,
LOOKS OUT OF WINDOW.
10/4/65 b7
------------------------------------------------------------------------
B8
ORION-III COCKPIT.
THE CO-PILOT IN RADIO
COMMUNICATION WITH THE
SPACE STATION.
10/4/65 b8
------------------------------------------------------------------------
B9
THE ORION-III SPACECRAFT
IN DOCKING APPROACH. THE
EARTH IS SEEN IN BREATH-
TAKING VIEW IN B.G.
10/4/65 b9
------------------------------------------------------------------------
B10
INSIDE DOCKING CONTROL.
WE SEE ORION-III MANO-
UVERING. IN BACKGROUND.
10/4/65 b10
------------------------------------------------------------------------
B11
FROM DOCKING PORT WE
SEE THE ORION-III INCHING
IN TO COMPLETE ITS
DOCKING. WE SEE VARIOUS
WINDOWED BOOTHS INSIDE
DOCKING PORT. WE SEE
THE PILOT AND CO-PILOT
INSIDE THE ORION-III
COCKPIT.
10/4/65 b11
------------------------------------------------------------------------
B12
SPACE STATION
RECEPTION AREA
RECEPTIONIST AT DESK.
MILLER ENTERS, HUR-
RYING. HE GOES TO
THE ELEVATOR AND
PRESSES BUTTON. HE
WAITS IMPATIENTLY.
WE SEE ELEVATOR
INDICATOR WORKING
ELEVATOR DOOR OPENS
AND FLOYD IS SEEN
UNSTRAPPING HIMSELF.
THE ELEVATOR GIRL IS
SEATED BY THE DOOR
MILLER
Oh, good morning, Dr. Floyd.
I'm Nick Miller.
FLOYD
How do you do, Mr. Miller?
MILLER
I'm terribly sorry. I was just
on my way down to meet you. I
saw your ship dock and I knew I
had plenty of time, and I was on
my way out of the office when,
suddenly, the phone rang.
12/7/65 b12
------------------------------------------------------------------------
B12
CONTINUED
FLOYD
Oh, please don't worry about it.
MILLER
Well, thank you very much for
being so understanding.
FLOYD
Please, it really doesn't matter.
MILLER
Well.. Did you have a pleaant
flight?
FLOYD
Yes, very pleasant.
MILLER
Well, shall we go through
Documentation?
FLOYD
Fine.
RECEPTIONIST
Will you use number eight,
please?
MILLER
Thank you, Miss Turner.
12/7/65 b13
------------------------------------------------------------------------
B12
CONTINUED
THEY ENTER PASSPORT
AREA
RECEPTIONIST PRESSES
"ENGLISH" BAR ON HER
CONSOLE AND SMILES
AS FLOYD GOES THROUGH.
12/7/65 b13a
------------------------------------------------------------------------
IN AUTOMATED PASSPORT
SECTION. THEY STOP IN
FRONT OF A BOOTH
FEATURING A TV SCREEN
PASSPORT GIRL (TV)
Good morning and welcome to voice
Print Identification. When you see
the red light go on would you please
state in the following order; your
desitination, your nationality and
your full name. Surname first,
christian name and initial. For
example: Moon, American,
Smith, John, D. Thank you.
THERE IS A PAUSE
AND A RED BAR LIGHTS UP
FLOYD
Moon, American, Floyd, Heywood,
R.
THE RED LIGHT GOES OFF.
THERE IS A DELAY OF
ABOUT TWO SECONDS AND
THE WOMAN'S FACE
REAPPEARS
FLOYD
I've always wondered....
12/7/65 b14
------------------------------------------------------------------------
B13
CONTINUED
PASSPORT GIRL (TV)
(Interrupting) Thank you. Despite
and excellent and continually
improving safety record there are
certain risks inherent in space
travel and an extremely high cost
of pay load. Because of this it
is necessary for the Space Carrier
to advise you that it cannot be
responsible for the return of your
body to Earth should you become
deceased on the Moon or en route
to the Moon. However, it wishes
to advise you that insurance
covering this contingency is
available in the Main Lounge.
Thank you. You are cleared
through Voice Print Identification.
THE LIGHTS GO OFF
AND THE WOMAN'S
FACE DISAPPEARS
THE MEN EXIT THE
PASSPORT AREA
MILLER
I've reserved a table for you in
the Earth Light room. Your
connecting flight will be
leaving in about one hour.
12/7/65 b15
------------------------------------------------------------------------
B13
CONTINUED
FLOYD
Oh, that's wonderful.
12/7/65 b16
------------------------------------------------------------------------
B14
INT SPACE STATION - LOUNGE
FLOYD AND MILLER WALKING
MILLER
Let's see, we haven't had the
pleasure of a visit from you not
since... It was about eight or
nine months ago, wasn't it?
FLOYD
Yes, I think so. Just about
then.
MILLER
I suppose you saw the work on
our new section while you
were docking.
FLOYD
Yes, it's coming along very well.
THEY PASS THE VISION
PHONE BOOTH
FLOYD
Oh, look, I've got to make a
phone call. Why don't you go
on into the Restaurant and I'll
meet you in there.
12/7/65 b17
------------------------------------------------------------------------
B14
CONTINUED
MILLER
Fine. I'll see you at the bar.
FLOYD ENTERS PHONE
BOOTH. SIGN ON
VISION PHONE SCREEN
"SORRY, TEMPORARILY
OUT OF ORDER."
HE ENTERS THE SECOND
BOOTH AND SITS DOWN
12/7/65 b18
------------------------------------------------------------------------
B15
DELETED
B16
DELETED
PAGES b19 - b22 DELETED
12/7/65
------------------------------------------------------------------------
B17
FLOYD IN VISION PHONE
LITTLE GIRL OF FIVE
ANSWERS
CHILD
Hello.
VISION PHONE SCREEN
DISPLAY SIGN 'YOUR
PARTY HAS NOT CONNECTED
VISION'
A FEW SECONDS LATER,
THE SCREEN CHANGES
TO AN IMAGE OF THE
CHILD
FLOYD
Hello, darling, how are you?
CHILD
Hello Daddy. Where are you?
FLOYD
I'm at Space Station Five,
darling. How are you?
CHILD
I'm fine, Daddy. When are
you coming home?
12/6/65 b23
------------------------------------------------------------------------
B17
CONTINUED
FLOYD
Well, I hope in a few days,
sweetheart.
CHILD
I'm having a party tomorrow.
FLOYD
Yes, I know that sweetheart.
CHILD
Are you coming to my party?
FLOYD
No, I'm sorry, darling, I
told you I won't be home for a
few days.
CHILD
When are you coming home?
FLOYD
In three days, darling, I
hope.
FLOYD HOLDS UP
THREE FINGERS.
12/6/65 b24
------------------------------------------------------------------------
B17
FLOYD
One, two, three. Can I
speak to Mommy?
CHILD
Mommy's out to the hair-
dresser.
FLOYD
Where is Mrs. Brown?
CHILD
She's in the bathroom.
FLOYD
Okay, sweetheart. Well, I
have to go now. Tell Mommy
that I called.
CHILD
How many days until you
come home?
FLOYD
Three, darling. One... two
... three. Be sure to tell
Mommy I called.
12/6/65 b24a
------------------------------------------------------------------------
B17
CONTINUED
CHILD
I will, Daddy.
FLOYD
Okay, sweetheart. Have a
lovely Birthday Party
tomorrow.
CHILD
Thank you, Daddy.
FLOYD
I'll wish you a happy
Birthday now and I'll see you
soon. All right, Darling?
CHILD
Yes, Daddy.
FLOYD
'Bye, 'bye, now, sweetheart.
CHILD
Goodbye, Daddy.
12/6/65 b24b
------------------------------------------------------------------------
B18
VISION PHONE
PROCEDURE FOR
INFORMATION
VISION PHONE
PROCEDURE FOR
DIALLING
OPERATOR
Good morning, Macy's.
FLOYD
Good morning. I'd like the
Vision shopper for the Pet
Shop, please.
OPERATOR
Just one moment.
12/7/65 b25
------------------------------------------------------------------------
B19
THE PICTURE FLIPS AND
WE SEE A WOMAN STANDING
IN FORN OF A SPECIALLY-
DESIGNED DISPLAY SCREEN
VISION SALES GIRL
Good morning, sir, may I help you?
FLOYD
Yes, I'd like to buy a bush baby.
VISION SALES GIRL
Just a moment, sir.
THE GIRL KEYS SOME
INPUTS AND A MOVING
PICTURE APPEARS ON
THE SCREEN OF A CAGE
CONTAINING ABOUT SIX
BUSH BABIES,
BEAUTIFULLY DISPLAYED
AGAINST A WHITE BACK-
GROUND
VISION SALES GIRL
Here you are, sir. Here is a
lovely assortment of African
bush babies. They are twenty
Dollars each.
12/7/65 b26
------------------------------------------------------------------------
B19
CONTINUED
FLOYD
Yes, well... Pick out a nice one
for me, a friendly one, and I'd
like it delivered tomorrow.
VISION SALES GIRL
Certainly, sir. Just let us have
your name and Bank identification
for V.P.I., and then give the
name and address of the person
you'd like the pet delivered to
and it will be delivered tomorrow.
SOME TIME DURING
THIS CONVERSATION,
FLOYD SEE ELENA,
SMYSLOV AND THE
OTHER TWO RUSSIANS
PASS HIS VISION PHONE
WINDOW. ELENA TAPS
AND MIMES "HELLO",
GESTURING TOWARD A
TABLE BEHIND FLOYD
WHERE THEY ALL SIT
DOWN
FLOYD
Thank you very much. Floyd,
Heywood, R., First National
Bank of Washington. Please
deliver to Miss Josephine
Floyd, 9423 Dupre Avenue,
N.W.14.
12/7/65 b27
------------------------------------------------------------------------
B19
CONTINUED
VISION SALES GIRL
Thank you very much, sir. It
will be delivered tomorrow.
12/7/65 b27a
------------------------------------------------------------------------
B20
SPACE STATTION 5 - LOUNGE
FLOYD
Well, how nice to see you again,
Elena. You're looking wonderful.
ELENA
How nice to see you, Hyewood.
This is my good friend, Dr.
Heywood Floyd. I'd like you
to meet Andre Smyslov...
SMYSLOV AND THE TWO
OTHER RUSSIAN WOMEN
STAND UP AND SMILE
THEY SHAKE HANDS
AFTER INTRODUCTION
AND AD-LIB 'HELLOS'
ELENA
And this is Dr. Kalinan...
Stretyneva...
THE RUSSIANS ARE
VERY WARM AND
FRIENDLY.
SMYSLOV
Dr. Floyd, won't you join us
for a drink?
12/7/65 b28
------------------------------------------------------------------------
B20
CONTINUED
FLOYD
I'm afraid I've only got a few
minutes, but I'd love to.
THERE IS A BIT OF
CONFUSION AS ALL
REALISE THERE IS
NOT ENOUGH ROOM
FOR ANOTHER
PERSON AT THE TABLE.
SMYSLOV OFFERS FLOYD
HIS CHAIR
AND BORROWS
ANOTHER FROM A NEARBY TABLE
SYMYSLOV
What would you like to drink?
FLOYD
Oh, I really don't have time
for a drink. If it's all right
I'll just sit for a minute and
then I've got to be off.
SMYSLOV
Are you quite sure?
FLOYD
Yes, really, thank you very
much.
ELENA
Well... How's your lovely
wife?
12/7/65 b29
------------------------------------------------------------------------
B20
CONTINUED
FLOYD
She's wonderful.
ELENA
And your charming little daughter?
FLOYD
Oh, she's growing up very fast.
As a matter of fact, she's six
tomorrow.
ELENA
Oh, that's such a delightful age.
FLOYD
How is gregor?
ELENA
He's fine. But I'm afraid we
don't get a chance to see each
other very much these days.
POLITE LAUGHTER
FLOYD
Well, where are all of you off
to?
12/7/65 b30
------------------------------------------------------------------------
B20
CONTINUED
ELENA
Actually, we're on our way back
from the moon. We've just
spent three months calibrating
the new antenna at Tchalinko.
And what about you?
FLOYD
Well, as it happens, I'm on
my way up to the moon
SMYSLOV
Are you, by any chance, going
up to your base at Clavius?
FLOYD
Yes,as a matter of fact, I am.
THE RUSSIANS
EXCHANGE
SIGNIFICANT
GLANCES
FLOYD
Is there any particular reason
why you ask?
12/7/65 b31
------------------------------------------------------------------------
B20
CONTINUED
SMYSLOV
(pleasantly) Well, Dr. Floyd,
I hope that you don't think I'm
too inquisitive, but perhaps
you can clear up the mystery
about what's been going on up
there.
FLOYD
I'm sorry, but I'm not sure
I know what you mean.
SMYSLOV
Well, it's just for the past
two weeks there have been
some extremely odd things
happening at Clavius.
FLOYD
Really?
SMYSLOV
Yes. Well, for one thing,
whenever you phone the base,
all you can get is a recording
which repeats that the phone
lines are temporarily out of
order.
12/7/65 b32
------------------------------------------------------------------------
B20
CONTINUED
FLOYD
Well, I suppose they've been
having a bit of trouble with
some of the equipment.
SMYSLOV
Yes, well at first we thought
that was the explanation, but
it's been going on for the past
ten days.
FLOYD
You mean you haven't been able
to get anyone at the base for ten
days?
SMYSLOV
That's right.
FLOYD
I see.
ELENA
Another thing, Heywood, two
days ago, one of our rocket
buses was denied permission
for an emergency landing at
Clavius.
12/7/65 b33
------------------------------------------------------------------------
B20
CONTINUED
FLOYD
How did they manage to do that
without any communication?
ELENA
Clavius Control came on the
air just long enough to transmit
their refusal.
FLOYD
Well, that does sound very odd.
SMYSLOV
Yes, and I'm afaid there's
going to be a bit of a row about
it. Denying the men permission
to land was a direct violation of
the I.A.S. convention.
FLOYD
Yes... Well, I hope the crew
got back safely.
SMYSLOV
Fortunately, they did.
FLOYD
Well, I'm glad about that.
12/7/65 b33a
------------------------------------------------------------------------
B20
CONTINUED
THE RUSSIANS EXCHANGE
MORE GLANCES. ONE OF
THE WOMEN OFFERS
AROUND A PILL BOX.
ELENA AND ANOTHER
RUSSIAN TAKE ONE AND
THE THIRD RUSSIAN
DELCINES.
SMYSLOV
Dr. Floyd, at the risk of pressing
you on a point you seem reticent
to discuss, may I ask you a
straightforward question?
FLOYD
Certainly.
SMYSLOV
Quite frankly, we have had some
very reliable intelligence reports
that a quite serious epidemic
has broken out at Clavius.
Something, apperently, of an
unknown origin. Is this, in
fact, what has happened?
A LONG, AWKWARD
PAUSE
12/7/65 b33b
------------------------------------------------------------------------
B20
CONTINUED
FLOYD
I'm sorry, Dr. Smyslov, but
I'm really not at liberty to
discuss this.
SMYSLOV
This epidemic could easily
spread to our base, Dr. Floyd.
We should be given all the
facts.
LONG PAUSE
FLOYD
Dr. Smyslov... I'm not
permitted to discuss this.
ELENA
Are you sure you won't change
your mind about a drink?
FLOYD
No, thank you... and I'm
afraid now I really must be
going.
ELENA
Well, I hope that you and your
wife can come to the I.A.C.
conference in June.
12/7/65 b33c
------------------------------------------------------------------------
B20
CONTINUED
FLOYD
We're trying to get there. I
hope we can.
ELENA
Well, Gregor and I will look
forward to seeing you.
FLOYD
Thank you. It's been a great
pleasure to meet all of you...
Dr. Smyslov.
THE RUSSIANS ALL
RISE AND THERE
ARE AD-LIBS OF
COURTESY
FLOYD SHAKES HANDS
AND EXITS
THE RUSSIANS EXCHANGE
A FEW SERIOUS PARA-
GRAPHES IN RUSSIAN
12/7/65 b33d
------------------------------------------------------------------------
B21
ARIES-IB IN SPACE.
EARTH MUCH SMALLER
THAN AS SEEN FROM
SPACE STATION
NARRATOR
The Aries-IB has become the
standard Space-Station-to-Lunar
surface vehicle. It was powered
by low-thrust plasma jets which
would continue the mild acceler-
ation for fifteen minutes. Then
the ship would break the bonds of
gravity and be a free and indepen-
dent planet, circling the Sun in an
orbit of its own.
10/4/65 b34
------------------------------------------------------------------------
B21a
ARIES PASSENGER AREA.
FLOYD IS ASLEEP, STRETCHED
OUT IN THE CHAIR, COVERED
WITH BLANKETS WHICH ARE
HELD SECURE BY STRAPS
A STEWARDESS SITS AT THE
OTHER SIDE OF THE CABIN,
WATCHING A KARATE
EXHIBITION BETWEEN TWO
WOMEN ON TELEVISION
THE ELEVATOR ENTRANCE
DOOR OPENS AND THE
SECOND STEWARDESS ENTERS
CARRYING A TRAY OF FOOD
SHE BRINGS IT TO THE OTHER
STEWARDESS
STEWARDESS ONE
Oh, thank you very much.
STEWARDESS TWO
I see he's still asleep.
STEWARDESS ONE
Yes. He hasn't moved since we
left.
STEWARDESS TWO EXITS,
INTO ELEVATOR
12/6/65 b34a
------------------------------------------------------------------------
B21b
ARIES GALLEY AREA.
STEWARDESS EXITS FROM
ELEVATOR, GOES TO
KITCHEN SECTION, REMOVES
TWO TRAYS, WALKS UP TO
THE SIDE OF THE WALL AND
ENTERS PILOT'S
COMPARTMENT
12/6/65 b34b
------------------------------------------------------------------------
B22
ARIES-IB COCKPIT.
PILOT, CO-PILOT.
STEWARDESS ENTERS,
CARRYING FOOD
PILOT
Oh, thank you very much.
CO-PILOT
Thank you.
STEWARDESS SMILES.
PILOT
(sighs) Well, how's it going
back there?
STEWARDESS
Fine. Very quiet. He's been
asleep since we left.
PILOT
Well, no one can say that he's not
enjoying the wonders of Space.
CO-PILOT
Well, whatever's going on up there,
he's going to arrive fresh and ready
to go.
12/14/65 b35
------------------------------------------------------------------------
B22
CONTINUED
PILOT
I wonder what really IS going on
up there?
CO-PILOT
Well, I've heard more and more
people talk of an epidemic.
PILOT
I suppose it was bound to happen
sooner or later.
CO-PILOT
Berkeley told me that they think
it came from contamination on a
returning Mars flight.
PILOT
Yes, well, whatever it is, they're
certainly not fooling around. This
is the first flight they allowed
in for more than a week.
CO-PILOT
I was working out what this trip
must cost, taking him up there
by himself and coming back empty.
PILOT
I'll bet it's a fortune.
12/14/65 b36
------------------------------------------------------------------------
B22
CONTINUED
CO-PILOT
Well, at ten thousand dollars a
ticket, it comes to the better part
of six hundred thousand dollars.
PILOT
Well, as soon as he wakes up,
I'm going to go back and talk to
him. I must say, I'd like to
find out what's going on.
12/14/65 b36a
------------------------------------------------------------------------
B23
ARIES-IB IN SPACE.
MOON VERY LARGE.
10/4/65 b37
------------------------------------------------------------------------
B24
ARIES-IB PASSENGER
AREA. FLOYD FINISHING
BREAKFAST.
PILOT ENTERS.
PILOT
Well, good afternoon, Dr. Floyd.
Did you have a good rest?
FLOYD
Oh, marvellous. It's the first
real sleep I've had for the past
two days.
PILOT
There's nothing like weightless
sleep for a complete rest.
FLOYD
When do we arrive at Clavius?
PILOT
We're scheduled to dock in about
seven hours. Is there anything
we can do for you?
FLOYD
Oh, no, thank you. The two
girls have taken wonderful care
of me. I'm just fine.
12/14/65 b38
------------------------------------------------------------------------
B24
CONTINUED
PILOT
Well, if there is anything that you
wnat, just give a holler.
FLOYD
Thank you.
PILOT
Incidentally, Dr. Floyd, I wonder
if I can have a word with you about
the security arrangements?
FLOYD
What do you mean?
PILOT
Well... the crew is confined to
the ship when we land at Clavius.
We have to stay inside for the
time it take to refit - about
twenty-four hours. And then
we're going to back empty.
FLOYD
I see.
PILOT
I take it this is something to do
with the trouble they're having
up at Clavius?
12/14/65 b39
------------------------------------------------------------------------
B24
CONTINUED
FLOYD
I'm afraid that's out of my depart-
ment, Captain.
PILOT
Well, I'll tell you why I ask. You
see, I've got a girl who works in
the Auditing Department of the
Territorial Administrator and I
haven't been able to get her on
the phone for the past week or so,
and with all these stories one
hears, I'm a little concerned
about her.
FLOYD
I see. Well, I'm sorry about that.
I wouldn't think there's any cause
for alarm.
PILOT
Yes, well, I wouldn't have been
too concerned about it, except
I've heard these stories about the
epidemic and, as a matter of fact,
I've heard that ten people have
died already.
12/14/65 b40
------------------------------------------------------------------------
B24
CONTINUED
FLOYD
I wish I could be more helpful,
Captain, but as I've said, I don't
think there's any cause for
alarm.
PILOT
Well, fine. Thanks very much,
anyway, and I hope you don't
mind me asking?
FLOYD
No, of course, Captain, I can
understand your concern.
PILOT
Well, thank you very much, and
please let us know if there is
anything we can do to make your
trip more comfortable.
12/14/65 b40a
------------------------------------------------------------------------
B25
ARIES-IB CLOSER TO MOON
10/4/65 b41
------------------------------------------------------------------------
B26
FLOYD GOES TO ARIES-IB
WASHROOM AND LOOKS AT
THE VERY LONG LIST OF
COMPLICATED INSTRUCTIONS
10/4/65 b42
------------------------------------------------------------------------
B27
ARIES-IB CLOSER TO MOON
DISSOLVE:
10/4/65 b43
------------------------------------------------------------------------
B28
FLOYD VISITING ARIES-IB
COCKPIT. WEIGHTLESS
TRICK ENTRANCE.
10/4/65 b44
------------------------------------------------------------------------
B29
ARIES-IB ORBITING MOON.
NARRATOR
The laws of Earthly aesthetics did
not apply here, this world had been
shaped and molded by other than
terrestrial forces, operating over
aeons of time unknown to the young,
verdant Earth, with its fleeting
Ice-Ages, its swiftly rising and
falling seas, its mountain ranges
dissolving like mists before the
dawn. Here was age inconceivable
- but not death, for the Moon had
never lived until now.
10/4/65 b45
------------------------------------------------------------------------
B30
ARIES-IB COCKPIT - THE
CREW AND DOCKING
CONTROL PEOPLE ON THE
MOON GO THROUGH THEIR
DOCKING ROUTINE. THIS
HAS THE RITUALISTIC TONE
AND CADENCE OF PRESENT-
DAY JET LANDING
PROCEDURE. WE ONLY HEAR
DOCKING CONTROL.
10/4/65 b46
------------------------------------------------------------------------
B31
ARIES-IB DECENDING.
SEE AIR VIEW OF BASE.
NARRATOR
The Base at Clavius was the first
American Lunar Settlement that
could, in an emergency, be
entirely self-supporting.
NARRATOR
Water and all the necessities of
life for its eleven hundred men,
women and children were produced
from the Lunar rocks, after they
had been crushed, heated and
chemically processed.
10/4/65 b47
------------------------------------------------------------------------
B32
A GROUND BUS NUZZLES UP
TO COUPLING SECTION OF
ARIES-IB
10/4/65 b48
------------------------------------------------------------------------
B33
INSIDE GREAT AIRLOCK
ENTRANCE. GROUND BUS
PULLS IN. GIANT DOORS
CLOSE BEHIND IT.
10/4/65 b49
------------------------------------------------------------------------
B34
INSIDE SECOND AIRLOCK.
DOORS OPEN AFTER OUT-
SIDE SECTION DOORS ARE
CLOSED. GROUND BUS
PULLS IN. DOORS CLOSE
BEHIND IT. SEE PEOPLE
WAITING IN GLASSED-IN
SECTION WAITING FOR
SECOND AIRLOCK DOORS
TO CLOSE.
10/4/65 b50
------------------------------------------------------------------------
B35
LOW GRAVITY
GYMNASIUM TRICK
WITH CHILDREN.
NARRATOR
One of the attractions of life on the
Moon was undoubtedly the low
gravity which produced a sense
of general well-being.
10/4/65 b51
------------------------------------------------------------------------
B36
CHILDREN IN SCHOOL.
TEACHER SHOWING THEM
VIEWS OF EARTH AND MAP
OF EARTH.
NARRATOR
The personnel of the Base and their
children were the forerunners of new
nations, new cultures that would
ultimately spread out across the
solar system. They no longer
thought of Earth as home. The
time was fast approaching when
Earth, like all mothers, must say
farewell to her children.
DISSOLVE:
10/5/65 b52
------------------------------------------------------------------------
B37
LARGE CENTRAL
RECEPTION AREA. DOORS
BRANCHING OFF TO DIFF-
RENT MAIN HALLS. SMALL
POND WITH PLASTIC WHITE
SWAN AND A BIT OF GRASS.
A FEW BENCHES WITH THREE
WOMEN AND THEIR CHILDREN
HAVING OUTING.
FLOYD AND WELCOMING
PARTY WALK THROUGH
AFTER EXITING ELEVATOR.
HALVERSON, MICHAELS
AND FIVE OTHERS.
FLOYD
(voice echoing) I must congratulate
you Halvorsen. you've done wonder-
ful things with the decor since the
last time I was here.
HALVORSEN
(voice echoing) Well... thank you,
Dr. Floyd. We try to make the
environment as earthlike as possible.
DISSOLVE:
10/5/65 b53
------------------------------------------------------------------------
B38
LOW CEILING CONFERENCE
ROOM, "U" SHAPED TABLE
FACING THREE PROJECTION
SCREENS. SEATED AROUND
THE TABLE ARE TWENTY
SENIOR BASE PERSONNEL.
HALVORSEN
Ladies and gentlemen, I should
like to introduce Dr. Heywood
Floyd, a distinguished member
of the National Council of
Astronautics. He has just
completed a special flight here
from Earth to be with us, and
before the briefing he would
like to say a few words. Dr.
Floyd.
POLITE APPLAUSE. FLOYD
WALKS TO FRONT OF ROOM.
FLOYD
First of all, I bring a personal
message from Dr. Howell, who
has asked me to convey his
deepest appreciation to all of
you for the personal sacrifices
you have made, and of course
his congratulations on your
discovery which may well prove
to be among the most significant
in the history of science.
POLITE APPLAUSE.
11/25/65 b54
------------------------------------------------------------------------
B38
CONTINUED
FLOYD (cont'd)
Mr. Halvorsen has made known
to me some of the conflicting
views held by many of you
regarding the need for complete
security in this matter, and
more specifically your strong
opposition to the cover story
created to give the impression
there is an epidemic at the Base.
I understand that beyond it being
a matter of principle, many of
you are troubled by the concern
and anxiety this story of an
epidemic might cause your
relatives and friends on Earth.
I can understand and sympathize
with your negative views. I have
been personally embarrassed by
this cover story. But I fully
accept the need for absolute
secrecy and I hope you will.
It should not be difficult for all
of you to realise the potential for
cutural shock and social
disorientation contained in the
present situation if the facts
were prematurely and suddenly
made public without adequate
preparation and conditioning.
11/25/65 b55
------------------------------------------------------------------------
B38
CONTINUED
FLOYD
This is the view of the Council
and the purpose of my visit here
is to gather addition facts and
opinions on the situation and to
prepare a report to the Council
recommending when and how the
news should eventually be
announced. Are there any
questions?
MICHAELS
Dr. Floyd, how long do you think
this can be kept under wraps?
FLOYD
(pleasantly)
I'm afraid it can and it will be
kept under wraps as long as it
is deemed to be necessary by
the Council. And of course you
know that the Council has requested
that formal security oaths are to
be obtained in writing from every-
one who had any knowledge of this
event. There must be adequate
time for a full study to be made
of the situation before any con-
sideration can be given to
making a public announcement.
11/25/65 b56
------------------------------------------------------------------------
B38
CONTINUED
HALVORSEN
We will, of course, cooperate
in any way possible, Dr. Floyd.
11/25/65 b56a
------------------------------------------------------------------------
B39
SEVERAL SCENIC VIEWS OF
MOON ROCKET BUS SKIMMING
OVER SURFACE OF MOON.
10/5/65 b57
------------------------------------------------------------------------
B40
INSIDE ROCKET BUS,
FLOYD, HALVORSEN,
MICHAELS, FOURTH
MAN, PILOT AND
CO-PILOT. ALL IN
SPACE SUITS MINUS
HELMETS.
FLOYD IS SLOWELY
LOOKING THROUGH
SOME PHOTOGRAPHS
AND MAGNETIC
MAPS OF THE AREA.
HE LOOKS OUT OF
THE WINDOW,
THOUGHTFULLY.
11/25/65 b58
------------------------------------------------------------------------
B40
CONTINUED
THE PHOTOGRAPHES
ARE TAKEN FROM A
SATELLITE OF THE
MOON'S SURFACE
AND HAVE NUMBERED
OPTICAL GRID
BORDERS, LIKE
RECENT MARS
PHOTOS.
A FEW SEATS
AWAY, MICHAELS
AND HALVORSEN
CARRY OUT A VERY
BANAL ADMINISTRATIVE
CONVERSATION IN LOW
TONES. IT SHOULD
REVOLVE AROUND
SOMETHING UTTERLY
IRRELEVANT TO THE
PRESENT CIRCUMSTANCES
AND VERY MUCH LIKE
THE KIND OF DISCUSSION
ONE HEARS ALL THE
TIME IN OTHER
ORGANIZATIONS.
DISSOLVE:
11/25/65 b59
------------------------------------------------------------------------
B41
TMA-1 EXCAVATION.
AIR VIEW. ROCKET
BUS DESCENDING.
THERE ARE NO LIGHTS
ON THE ACTUAL EXCA-
VATION, ONLY THE
LANDING STRIP AND
THE MONITOR DOME.
12/14/65 b60
------------------------------------------------------------------------
B42
LONG SHOT MONITOR DOMES
WITH A BIT OF EXCAVATION
IN SHOT. SIX SMALL FIGURES
IN SPACE SUITS SLOWLY WALK
TOWARD EXCAVATION.
10/5/65 b61
------------------------------------------------------------------------
B43
THE PARTY STOPS
AT TOP OF TMA-1
EXCAVATION.
A SMALL CONTROL
PANEL MOUNTED AT
THE HEAD OF THE
RAMP. MICHAELS
THROWS A SWITCH
AND THE EXCAVATION
IS SUDDENLY ILLUMINATED.
HALVORSEN
Well, there it is.
FLOYD
Can we go down there closer to
it?
HALVORSEN
Certainly.
12/14/65 b62
------------------------------------------------------------------------
B44
THEY START DOWN
WORKING RAMP
FLOYD
Does your geology on it still
check out?
MICHAELS
Yes, it does. The sub-surface
structure shows that it was
deliberately buried about four
million years ago.
FLOYD
How can you tell it was
deliberately buried?
MICHAELS
By the deformation between
the mother rock and the fill.
FLOYD
Any clue as to what it is?
MICHAELS
Not really. It's completely
inert. No sound or energy
sources have been detected.
The surface is made of
something incredibly hard
and we've been barely able
to scratch it. A laser drill
11/25/65 b63
------------------------------------------------------------------------
B44
CONTINUED
MICHAELS
might do something, but we
don't want to be too rough until
we know a little more.
FLOYD
But you don't have any idea as
to what it is?
MICHAELS
Tomb, shine, survey-marker
spare part, take your choice.
HALVORSEN
The only thing about it that we are
sure of is that it is the first direct
evidence of intelligent life beyond
the Earth.
SILENT APPRECIATION
HALVORSEN
Four million years ago, something,
presumably from the stars, must
have swept through the solar
system and left this behind.
11/25/65 b64
------------------------------------------------------------------------
B44
CONTINUED
FLOYD
Was it abandoned, forgotten, left
for a purpose?
HALVORSEN
I suppose we'll never know.
MICHAELS
The moon would have made an
excellent base camp for
preliminary Earth surveys.
SOME MORE SILENCE
FLOYD
Any ideas about the colour?
MICHAELS
Well, not really. At first glance,
black would suggest something
sun-powered, but then why would
anyone deliberately bury a sun-
powered device?
FLOYD
Has it been exposed to any sun
before now?
MICHAELS
I don't think it has, but I'd
like to check that. Simpson,
what's the log on that?
11/25/65 b65
------------------------------------------------------------------------
B45
INSIDE MONITOR DOME
WE SEE A NUMBER OF
TELEVISION DISPLAYS
INCLUDING SEVERAL TV
VIEWS OF FLOYD AND
COMPANY IN THE
EXCAVATION.
SIMPSON
The first surface was exposed at
0843 on the 12th April... Let me
see... that would have been
forty-five minutes after Lunar
sun-set. I see here that
special lighting equipment had
to be brought up before any
futher work could be done.
11/25/65 b66
------------------------------------------------------------------------
B46
TMA-1 EXCAVATION
MICHAELS
Thank you.
FLOYD
And so this is the first sun that
it's had in four million years.
PHOTOGRAPHER
Excuse me, gentlemen, if you'd
all line up on this side of the
walkway we'd like to take a few
photographes. Dr. Floyd, would
you thand in the middle... Dr.
Michaels on that side, Mr.
Halvorsen on the other....
thank you.
THE PHOTOGRAPHER
QUICKLY MAKES SOME
EXPOSURES
PHOTOGRAPHER
Thank you very much gentlemen,
I'll have the base photo section
send you copies.
AS THE MEN SLOWLY
SEPERATE FROM THEIR
PICTURE POSE, THERE
IS A PIERCINGLY POWERFUL
SERIES OF FIVE ELECTRONIC
SHRIEKS, EACH LIKE A
HIDEOUSLY OVER-LOADED
AND DISTORTED TIME SIGNAL.
FLOYD INVOLUNTARILY TRIES
TO BLOCK HIS EARS WITH HIS
SPACESUITED HANDS. THEN
COMES MERCIFUL SILENCE.
11/25/65 b67
------------------------------------------------------------------------
B47
VARIOUS SHOTS OF
SPACE MONITORS,
ASTEROIDS, THE SUN,
PLUTO, MARS.
NARRATOR
A hundred million miles beyond
Mars, in the cold lonliness
where no man had yet travelled,
Deep-Space-Monitor-79 drifts
slowly among the tangled orbits
of the asteroids.
NARRATOR
Radiation detectors noted and
analyzed incoming cosmic rays
from the galaxy and points beyond;
neutron and x-ray telescopes
kept watch on strange stars that
no human eye would eever see;
magnetometers observed the
gusts and hurricanes of the solar
winds, as the sun breathed million
mile-an-hour blasts of plasma
into the faces of its circling
children.
NARRATOR
All these things and many others
were patiently noted by Deep-
Space-Monitor-79, and recorded
in its crystalline memory.
11/25/65 b68
------------------------------------------------------------------------
B47
CONTINUED
NARRATOR
But now it had noted something
strange - the faint yet
unmistakable distrubance rippling
across the solar system, and
quite unlike any natural phenomena
it had ever observed in the past.
NARRATOR
It was also observed by Orbiter
M-15, circling Mars twice a
day; and High Inclination Probe-
21, climbing slowly above the
planet of the ecliptic; and even
artificial Comet-5, heading out
into the cold wastes beyond
Pluto, along an orbit whose
far point it would not reach for
a thousand years.
NARRATOR
All noticed the peculiar burst of
energy that leaped from the face
of the Moon and moved across
the solar system, throwing off a
spray of radiation like the wake of
a racing speedboat.
11/25/65 b69
------------------------------------------------------------------------
B SECTION TIMING
B1-1f 00.50 B25 00.10
B2 00.10 B26 00.20
B3 00.15 B27 00.05
B4 00.15 B28 Out
B5 00.20 B29 00.30
B6 00.15 B30 00.30
B7 00.10 B31 00.25
B8 00.15 B32 00.20
B9 00.10 B33 00.20
B10 00.10 B34 00.30
B11 00.15 B35 00.20
B12 00.50 B36 00.20
B13 01.10 B37 00.30
B14 00.35 B38 02.15
B15 Out B39 00.20
B16 Out B40 00.50
B17 01.15 B41 00.15
B18 00.15 B42 00.10
B19 01.00 B43 00.15
B20 03.55 B44 01.40
B21 00.20 B45 00.20
B21A 00.20 B46 00.40
B21B 00.15 B47 01.25
B22 01.00
B23 00.10
B24 01.30
B SECTION TOTAL: 28 MIN. 10 SECS.
------------------------------------------------------------------------
TITLE
PART III
14 MONTHS LATER
b69a
------------------------------------------------------------------------
C1
DISCOVERY 1,000,000
MILES FROM EARTH.
SEE EARTH AND MOON
SMALL.
WE SEE A BLINDING
FLASH EVERY 5
SECONDS FROM ITS
NUCLEAR PULSE
PROPULSION. IT
STRIKES AGAINST
THE SHIP'S THICK
ABLATIVE TAIL
PLATE.
SEVERAL CUTS OF
THIS.
11/19/65 c1
------------------------------------------------------------------------
C2
ANOTHER CLOSER
VIEW OF DISCOVERY.
SEE BOWMAN THROUGH
COMMAND MODULE
WINDOW.
11/19/65 c2
------------------------------------------------------------------------
C3
BOWMAN INSIDE
DISCOVERY COMMAND
MODULE. HE IS
LOOKING FOR
SOMETHING.
COMPUTER READOUT
DISPLAY SHOWING AN
EVER-SHIFTING
ASSORTMENT OF
COLOR-CODED LINEAR
PROJECTIONS.
WE SEE POOLE IN
BACKGROUND IN
COMPUTER BRAIN
CENTRE AREA.
AFTER A FEW
SECONDS HE EXITS.
THE ELAPSED
MISSION TIMER
READS "DAY 003,
HOUR 14, MINUTE
32, SECOND 10."
11/19/65 c3
------------------------------------------------------------------------
C4
BOWMAN EXITS TO
ACCESS-LINK AIRLOCK.
BRIGHT COLOR-CODED
DOORS LEAD TO
CENTRIFUGE AND POD
BAY. LARGE ILLUMUN-
ATED PRINTED WARNINGS
AND INSTRUCTIONS
GOVERNING LINK
OPERATIONS ARE SEEN.
HE PRESSES NECESSARY
BUTTONS TO OPERATE
AIRLOCK DOOR TO
POD BAY.
11/19/65 c4
------------------------------------------------------------------------
C5
BOWMAN ENTERS POD
BAY AND CONTINUES
HIS SEARCH. SUDDENLY
HE FINDS IT - HIS
ELECTRONIC NEWSPAD.
HE EXITS POD BAY.
11/19/65 c5
------------------------------------------------------------------------
C6
IN THE AIRLOCK-
LINK BOWMAN
OPERATES BUTTONS
TO OPEN DOOR
MARKED "CENTRIFUGE".
11/19/65 c6
------------------------------------------------------------------------
C7
INSIDE THE
CENTRIFUGE HUB
BOWMAN MOVES TO
THE
ENTRY PORT
CONTROL PANEL
BOWMAN
Hi. Frank... coming in, please.
POOLE
Right. Just a sec.
BOWMAN
Okay. (pause)
POOLE
Okay, come on down.
WE SEE THE
ROTATING HUB
COLLAR AT THE
END. BEHIND IT
WE SEE
11/19/65 c7
------------------------------------------------------------------------
C8
THE CENTRIFUGE
TV-DISPLAY SHOWING
SLEEPERS AND POOLE
SLOWLY ROTATING BY.
POOLE SECURES SOME
LOOSE GEAR.
POOLE LOOKS UP TO
TV MONITOR LENS
AND WAVES.
11/19/65 c8
------------------------------------------------------------------------
C9
BOWMAN AT PANEL.
STOPS ROTATION
AND MOVES TO
ENTRY PORT.
WHEN ROTATION
STOPS WE SEE A SIGN
LIGHTS UP "WEIGHTLESS
CONDITION".
AS BOWMAN DISAPPEARS
DOWN ENTRY PORT WE
SEE HIM ON
TV-MONITOR, DESCENDING
LADDER. AT THE BASE
OF THE LADDER HE KEYS
THE CENTRIFUGE
OPERATION PANEL.
WE SEE TV-PICTURE
START TO ROTATE
AGAIN. "WEIGHTLESS
CONDITION" SIGN GOES
OUT.
11/19/65 c9
------------------------------------------------------------------------
C10
INSIDE CENTRIFUGE
BOWMAN MAKES 180 DEGREE
WALK TO POOLE.
ON WAY HE PASSES
THE SLEEPERS.
WE GET A GOOD
LOOK AT THE THREE
MEN IN THEIR
HIBERNACULUMS.
POOLE IS SEATED
AT A TABLE READING
HIS ELECTRONIC
NEWSPAD.
BOWMAN
(softly) Hi... How's it
going?
POOLE
(absent but friendly) Great.
BOWMAN OPERATES
ARTIFICIAL FOOD
UNIT, TAKES HIS TRAY
AND SITS DOWN. KEYS
ON HIS ELECTRONIC
NEWSPAD AND BEGINS
TO EAT. BOTH MEN
EAT IN A FRIENDLY
AND RELAXED SILENCE.
11/19/65 c10
------------------------------------------------------------------------
C11
DISCOVERY IN SPACE,
STILL NUCLEAR
PULSING. EARTH
AND MOON CAN BE
SEEN IN BACKGROUND.
DISSOLVE:
11/19/65 c11
------------------------------------------------------------------------
C12
POOLE IS FINISHED.
BOWMAN IS STILL
READING AND
WORKING ON HIS
DESSERT.
POOLE
Dave, if you've a minute, I'd like
your advice on something.
BOWMAN
Sure, what is it?
POOLE
Well, it's nothing really important,
but it's annoying.
BOWMAN
What's up?
POOLE
It's about my salary cheques.
BOWMAN
Yes?
POOLE
Well I got the papers on my
official up-grading to AGS-19
two weeks before we left.
12/14/65 c12
------------------------------------------------------------------------
C12
CONTINUED
BOWMAN
Yes, I remember you mentioning it.
I got mine about the same time.
POOLE
That's right. Well, naturally,
I didn't say anything to Payroll.
I assumed they'd start paying me
at the higher grade on the next pay
cheque. But it's been almost
three weeks now and I'm still
being paid as an AGS-18.
BOWMAN
Interesting that you mention it,
because I've got the same problem.
POOLE
Really.
BOWMAN
Yes.
POOLE
Yesterday, I finally called the
Accounting Office at Mission
Control, and all they could tell me
was that they'd received the AGS-19
notification for the other three but
not mine, and apparently not yours
either.
12/14/65 c13
------------------------------------------------------------------------
C12
CONTINUED
BOWMAN
Did they have any explanation for
this?
POOLE
Not really. They just said it might
be because we trained at Houston and
they trained in Marshall, and that
we're being charged against differ-
ent accounting offices.
BOWMAN
It's possible.
POOLE
Well, what do you think we ought
to do about it?
BOWMAN
I don't think we should make any
fuss about it yet. I'm sure they'll
straighten it out.
POOLE
I must say, I never did understand
why they split us into two groups
for training.
BOWMAN
No. I never did, either.
12/14/65 c14
------------------------------------------------------------------------
C12
CONTINUED
POOLE
We spent so little time with them,
I have trouble keeping their names
straight.
BOWMAN
I suppose the idea was specialized
training.
POOLE
I suppose so. Though, of course,
there's a more sinister explanation.
BOWMAN
Oh?
POOLE
Yes. You must have heard the
rumour that went around during
orbital check-out.
BOWMAN
No, as a matter of fact, I didn't.
POOLE
Oh, well, apparently there's
something about the mission that
the sleeping beauties know that
we don't know, and that's why we
were trained separately and
that's why they were put to sleep
before they were even taken aboard.
12/14/65 c15
------------------------------------------------------------------------
C12
CONTINUED
BOWMAN
Well, what is it?
POOLE
I don't know. All I heard is that
there's something about the
mission we weren't told.
BOWMAN
That seems very unlikely.
POOLE
Yes, I thought so.
BOWMAN
Of course, it would be very easy
for us to find out now.
POOLE
How?
BOWMAN
Just ask Hal. It's conceivable
they might keep something from
us, but they'd never keep anything
from Hal.
POOLE
That's true.
12/14/65 c15a
------------------------------------------------------------------------
C12
CONINUED
BOWMAN
(sighs) Well... it's silly, but...
if you want to, why don't you?
POOLE WALKS TO THE
HAL 9000 COMPUTER
POOLE
Hal... Dave and I believe that
there's something about the
mission that we weren't told.
Something that the rest of the
crew know and that you know.
We'd like to know whether this
is true.
HAL
I'm sorry, Frank, but I don't
think I can answer that question
without knowing everything that
all of you know.
BOWMAN
He's got a point.
POOLE
Okay, then how do we re-phrase
the question?
12/14/65 c15c
------------------------------------------------------------------------
C12
CONTINUED
BOWMAN
Still, you really don't believe it,
do you?
POOLE
Not really. Though, it is strange
when you think about it. It didn't
really make any sense to keep
us apart during training.
BOWMAN
Yes, but it's to fantastic to think
that they'd keep something from us.
POOLE
I know. It would be almost
inconceivable.
BOWMAN
But not completely inconceivable?
POOLE
I suppose it isn't logically impossible.
BOWMAN
I guess it isn't.
POOLE
Still, all we have to do is ask Hal.
12/14/65 c15b
------------------------------------------------------------------------
C12
CONTINUED
BOWMAN
Well, the only important aspect of
the mission are: where are we
going, what will we do when we
get there, when are we coming
back, and... why are we going?
POOLE
Right. Hal, tell me whether the
following statements are true or
false.
HAL
I will if I can, Frank.
POOLE
Our Mission Profile calls for
Discovery going to Saturn.
True or false?
HAL
True.
POOLE
Our transit time is 257 days. Is
that true?
HAL
That's true.
12/14/65 c15d
------------------------------------------------------------------------
C12
CONTINUED
POOLE
At the end of a hundred days of
exploration, we will all go into
hibernation. Is this true?
HAL
That's true.
POOLE
Approximately five years after we
go into hibernation, the recovery
vehicle will make rendezous with
us and bring us back. Is this true?
HAL
That's true
POOLE
There is no other purpose for this
mission than to carry out a
continuation of the space program,
and to further our general
knowledge of the planets. Is that
true?
HAL
That's true.
POOLE
Thank you very much, Hal.
12/14/65 c15e
------------------------------------------------------------------------
C12
CONTINUED
HAL
I hope I've been able to be of
some help.
BOTH MEN LOOK AT
EACH OTHER RATHER
SHEEPISHLY.
12/14/65 c15f
------------------------------------------------------------------------
C13
DISCOVERY IN SPACE.
PULSING ALONG.
EARTH AND MOON.
11/19/65 c16
------------------------------------------------------------------------
C14
DELETED
C15
DELETED
C15
DELETED
C16
DELETED
PAGES c17 - c41 DELETED
------------------------------------------------------------------------
C17
DOCUMENTARY SEQUENCE
ILLUSTRATING THE
FOLLOWING ACTIVITIES.
SPLIT SCREEN TECHNIQUE
AND SUPERIMPOSED CLOCK
TO GIVE SENSE OF
SIMULTANEOUS ACTION AND
THE FEELING OF A TYPICAL
DAY.
IN THE COURSE OF THESE
ACTIVITIES WE SHALL SEE
THE COMPUTER USED IN
ALL OF ITS FUNCTIONS.
NARRATOR
Bowman and Poole settled down
to the peaeful monotony of the
voyage, and the next three months
passed without incident.
11/24/65 c42
------------------------------------------------------------------------
C17
CONTINUED
BOWMAN TIME POOLE
a1 b1
TV NEWS - MORNING 0800 WAKES UP
a2 b2
BEDTIME SNACK 0900 BREAKFAST
a3 b3
TO SLEEP WITH 1000 GYMNASIUM
INSTANT ELECTRO-
NARCOSIS AND EAR
PLUGS.
a4 b4
SLEEP 1100 SHIP INSPECTION
a5 b5
SLEEP 1200 HOUSEHOLD DUTIES
a6 b6
SLEEP 1300 LUNCH
11/24/65 c43
------------------------------------------------------------------------
C17
CONTINUED
BOWMAN TIME POOLE
a7 b7
SLEEP 1400 EXPERIMENTS AND
ASTRONOMY
a8 b8
SLEEP 1500 EXPERIMENTS AND
ASTRONOMY
a9 b9
SLEEP 1600 RECREATION
a10 b10
SLEEP 1700 RECREATION
a11 b11
WAKES UP 1800 GYMNASIUM
a12 b12
BREAKFAST 1900 DINNER
11/24/65 c44
------------------------------------------------------------------------
C17
CONTINUED
BOWMAN TIME POOLE
a13 b13
GYMNASIUM 2000 TV NEWS - EVENING
PAPERS
a14 b14
MISSION CONTROL 2100 MISSION CONTROL
REPORT REPORT
a15 b15
FAMILY AND SOCIAL 2200 FAMILY AND SOCIAL
TV CHAT TV CHAT
a16 b16
FILMS 2300 FILMS
a17 b17
LUNCH 2400 BEDTIME SNACK
a18 b18
INSPECTION 0100 INSTANT ELECTRO-
NARCOSIS SLEEP
11/24/65 c45
------------------------------------------------------------------------
C17
CONTINUED
BOWMAN TIME POOLE
a19 b19
EXPERIMENTS AND 0200 SLEEP
ASTRONOMY
a20 b20
EXPERIMENTS AND 0300 SLEEP
a21 b21
RECREATION 0400 SLEEP
a22 b22
HOUSEHOLD DUTIES 0500 SLEEP
a23 b23
GYMNASIUM 0600 SLEEP
a24 b24
DINNER 0700 SLEEP
11/24/65 c46
------------------------------------------------------------------------
C18
DISCOVERY IN SPACE
11/24/65 c47
------------------------------------------------------------------------
C19
CENTRIFUGE
BOWMAN SITTING AT
PERSONAL COMMUNI-
CATION PANEL. POOLE
STANDING NEARBY.
BOWMAN'S PARENTS
ARE SEEN ON THE VISION
SCREEN. MOTHER, FATHER
AND YOUNGER SISTER.
THEY ARE ALL SINGING
"HAPPY BIRTHDAY". THE
PARENTS, POOLE AND HAL.
THE SONG ENDS.
FATHER
Well, David there is a man telling
us that we've used up our time.
MOTHER
David... again we want to wish
you a happy Birthday and God speed.
We'll talk to you again tomorrow.
'Bye, 'bye now.
CHORUS OF
"GOODBYES".
12/13/65 c48
------------------------------------------------------------------------
C19
CONTINUED
VISION SCREEN GOES
BLANK
HAL
Sorry to interrupt the festivities,
Dave, but I think we've got a
problem.
BOWMAN
What is it, Hal?
HAL
MY F.P.C. shows an impending
failure of the antenna orientation
unit.
C20
TV DISPLAYS DIAGRAM
OF SKELETONISED
PICTURE OF SHIP.
12/13/65 C49
------------------------------------------------------------------------
C21
PICTURE CHANGES TO
CLOSER SECTIONALISED
VIEW OF SHIP.
C22
PICTURE CHANGES TO
ACTUAL COMPONENT
IN COLOUR RELIEF AND
ITS WAREHOUSE NUMBER
HAL
The A.O. unit should be replaced
within the next seventy-two hours.
BOWMAN
Right. Let me see the antenna
alignment display, please.
C23
TV DISPLAY OF EARTH
VERY SMALL IN CROSS-
HAIRS OF A GRID PICTURE.
12/13/65 c50
------------------------------------------------------------------------
C24
CUT TO EXTERIOR VIEW
OF THE BIG DISH ANTENNA
AND EARTH ALIGNMENT
TELESCOPE.
C25
CENTRIFUGE
HAL
The unit is still operational, Dave.
but it will fail within seventy-two
hours.
BOWMAN
I understand Hal. We'll take care
of it. Please, let me have the hard
copy.
XEROXED DIAGRAMS
COME OUT OF A SLOT.
POOLE
Strange that the A.O. unit should
go so quickly.
BOWMAN
Well, I suppose it's lucky that
that's the only trouble we've had
so far.
12/13/65 c50a
------------------------------------------------------------------------
C26
DISCOVERY IN SPACE.
NOT PLANETS VISIBLE.
SHOTS OF ANTENNA.
(NARRARTION TO
EXPLAIN TENOUS
AND ESSENTIAL LINK
TO EARTH. ALSO,
WHAT TRACKING
TELESCOPE DOES.)
12/13/65 c51
------------------------------------------------------------------------
C27
CENTRIFUGE
WE SEE BOWMAN AND
POOLE GO TO A CUPBOARD
LABELLED IN PAPER TAPE,
"RANDOM DECISION
MAKER."
THEY REMOVED A SILVER
DOLLAR IN A PROTECTIVE
CASE.
POOLE FLIPS THE COIN.
BOWMAN CALLS "HEAD."
IT IS TAILS. POOLE
WINS.
POOLE LOOKS PLEASED.
12/13/65 c52
(c53 DELETED)
------------------------------------------------------------------------
C28
DISCOVERY IN SPACE
11/24/65 c54
------------------------------------------------------------------------
C29
POD BAY. POOLE
IN SPACE SUIT DOING
PRELIMINARY CHECK
OUT.
C30
COMMAND MODULE.
BOWMAN AT FLIGHT
CONTROL. SEE TV
PICTURE OF POOLE
IN POD BAY.
C31
HAL'S POD BAY
CONSOLE WITH EYE.
C32
POOLE GOES TO POD
BAY WAREHOUSE
SECTION AND OBTAINS
COMPONENT. HE
CARRIES IT BACK TO
THE POD AND PLACES
IT IN FRONT OF THE
FLOOR.
POOLE
Hal, have pod arms secure the
component.
HAL
Roger.
12/13/65 c55
------------------------------------------------------------------------
C32
CONTINUED
SEE POD ARMS
SECURE COMPONENT.
POOLE
Hal, please rotate Pod Number
Two.
SEE THE CENTRE POD
ROTATE TO FACE THE
POD BAY DOORS.
POOLE ENTERS POD.
INSIDE POD, HE DOES
INITIAL PRE-FLIGHT
CHECK, TRIES BUTTONS
AND CONTROLS.
POOLE
How do you read me, Dave?
12/13/65 c56
------------------------------------------------------------------------
C33
BOWMAN IN COMMAND
MODULE.
BOWMAN
Five by five, Frank.
C34
INSIDE POD.
POOLE
How do you read me, Hal?
HAL
Five by five, Frank.
POOLE
Hal, I'm going out now to replace
the A.O. unit.
HAL
I understand.
POOLE
Hal, maintain normal E.V.A.
condition.
HAL
Roger.
POOLE
Hal, check all airlock doors secure.
12/13/65 c57
------------------------------------------------------------------------
C34
CONTINUED
HAL
All airlock doors are secure.
POOLE
Decompress Pod Bay.
SEE BIG POD BAY AIR
PUMPS AT WORK.
HAL
Pod Bay is decompressed. All
doors are secure. You are free
to open pod bay doors.
POOLE
Opening pod bay doors.
INSIDE POD, POOLE
KEYS OPEN POD BAY
DOORS.
12/13/65 c58
------------------------------------------------------------------------
C34
CONTINUED
POD SLOWLY EDGES
OUT OF POD BAY.
C35
POOLE MANOEUVRES
THE POD CAREFULLY
AWAY FROM DISCOVERY.
C36
INSIDE COMMAND
MODULE, BOWMAN
CAN SEE TINY POD
MANOEUVRING
DIRECTLY IN FRONT.
C37
POOLE SEE BOWMAN
IN COMMAND MODULE
WINDOW.
C38
POD SLOWLY MANOEVRES
TO ANTENNA.
11/24/65 c59
------------------------------------------------------------------------
C39
POD FASTENS ITSELF
MAGNETICALLY TO
SIDES OF DISCOVERY
AT BASE OF ANTENNA.
C40
SPECIAL MAGNETIC
PLATES GRIP
DISCOVERY SIDES.
C41
THE POD ARMS WORK
TO REMOVE THE FAULTY
COMPONENT.
C42
EASY FLIP-BOLTS OF
A SPECIAL DESIGN
FACILITATE JOB.
C43
INSIDE THE POD,
POOLE WORKS THE
ARMS BY SPECIAL
CONTROL.
11/24/65 c60
------------------------------------------------------------------------
C44
IN COMMAND MODULE,
BOWMAN SEES INSERT
OF WORK TAKEN FROM
TV CAMERA POINT-OF-
VIEW IN POD HAND.
C45
HAL STANDS BY.
C46
POOLE SECURES THE
FAULTY PART IN ONE
HAND.
C47
THE NEW COMPONENT
IS FITTED INTO PLACE
BY THE OTHER THREE
HANDS ARE SNAPPED
CLOSED WITH THE
SPECIALLY DESIGNED
FLIP-BOLTS.
POOLE
Hal, please acknowledge
component correctly installed
and fully operational.
11/24/65 c61
------------------------------------------------------------------------
C47
CONTINUED
HAL
The component is correctly
installed and fully operational.
C48
THE POD FLOATS AWAY
FROM THE DISCOVERY BY
SHUTTING OFF THE
ELECTRO-MAGNETIC
PLATES.
C49
THE POD MANOEUVRES
AWAY FROM THE ANTENNA
AND OUT IN FRONT OF
DISCOVERY.
C50
BOWMAN SEE THE POD
THROUGH THE COMMAND
MODULE WINDOW.
C51
POOLE SEES BOWMAN
IN COMMAND MODULE
WINDOW.
11/24/65 c62
------------------------------------------------------------------------
C52
POOLE CAREFULLY
MANOEUVRES TOWARD
THE POD DOORS.
C53
POD STOPS A HUNDRED
FEET AWAY.
C54
POOLE KEYS AUTOMATIC
DOCKING ALIGNMENT
MODE.
C55
POOLE CHECKS AIRLOCK
SAFETY PROCEDURE WITH
HAL.
C56
HAL APPROVES ENTRY.
C57
POOLE ACTUATES POD
BAY DOORS OPEN.
11/24/65 c63
------------------------------------------------------------------------
C58
SEE POD BAY DOORS
OPEN.
C59
POD CAREFULLY
MANOEUVRES ON
TO DOCKING ARM,
WHICH THEN DRAWS
POD INTO POD BAY.
DISSOLVE:
11/24/65 c64
------------------------------------------------------------------------
C60
POD BAY
THE FAULTY A.O. UNIT
LIES ON A TESTING BENCH
CONNECTED TO ELECTRONIC
GEAR.
POOLE STANDS FOR
SOME TIME CHECKING HIS
RESULTS.
THERE SHOULD BE SOME
UNDERSTANDABLE DISPLAY,
WHICH INDICATES THE PART
IS FUNCTIONING PROPERLY,
EVEN UNDER ONE HUNDRED
PERCENT OVERLOAD.
CIRUIT CONTINUITY
PULSE SEQUENCER.
ENVIRONMENTAL VIBRATION.
VK INTEGRITY.
BOWMAN ENTERS
BOWMAN
How's it going?
POOLE
I don't know. I've checked this
damn thing four times now and
even under a hundred per cent
(cont'd)
12/13/65 c65
------------------------------------------------------------------------
C60
CONT'D
POOLE (cont'd)
overload. there's no fault prediction
indicated.
BOWMAN
Well, that's something.
POOLE
Yes, I don't know what to make of it.
BOWMAN
I suppose computers have been known
to be wrong.
POOLE
Yes, but it's more likely that the
tolerances on our testing gear are
too low.
BOWMAN
Anyway, it's just as well that we
replace it. Better safe than
sorry.
12/13/65 c65a
------------------------------------------------------------------------
C61
DISCOVERY IN SPACE
12/1/65 c66
------------------------------------------------------------------------
C62
CENTRIFUGE
BOWMAN ASLEEP.
POOLE WATCHING
AN ASTEROID IN THE
TELESCOPE.
HAL
Hello, Frank, can I have a word with
you?
POOLE WALKS TO THE
COMPUTER.
POOLE
Yes, Hal, what's up?
HAL
It looks like we have another bad
A.O. unit. My FPC shows another
impending failure.
C63
WE SEE DISPLAY APPEAR
ON THE SCREEN SHOWING
SKELETONISED VERSION
OF SHIP, CUTTING TO
SECTIONALISED VIEW,
CUTTING TO CLOSE
VIEW OF THE PART.
12/13/65 c67
------------------------------------------------------------------------
C64
CENTRIFUGE
POOLE THINKS FOR
SEVERAL SECONDS.
POOLE
Gee, that's strange, Hal. We
checked the other unit and couldn't
find anything wrong with it.
HAL
I know you did, Frank, but I assure
you there was an impending failure.
POOLE
Let me see the tracking alignment
display.
C65
COMPUTER DISPLAYS
THE VIEW OF EARTH
IN THE CENTRE OF THE
GRID WITH CROSS-
HAIRS. THE EARTH IS
PERFECTLY CENTRED.
C66
CENTRIFUGE
POOLE
There's nothing wrong with it at
the moment.
12/13/65 c68
------------------------------------------------------------------------
C66
CONTINUED
HAL
No, it's working fine right now,
but it's going to go within seventy-
two hours.
POOLE
Do you have any idea of what is
causing this fault?
HAL
Not really, Frank. I think there
may be a flaw in the assembly
procedure.
POOLE
All right, Hal. We'll take care
of it. Let me have the hard copy,
please.
HARD COPY DETAILS
COME OUT OF SLOT.
12/13/65 c69
------------------------------------------------------------------------
C67
DISCOVERY IN SPACE,
NO PLANETS VISIBLE.
12/1/65 c70
------------------------------------------------------------------------
C68
CENTRIFUGE. BOWMAN
GETS OUT OF BED, WALKS
TO THE FOOD UNIT AND
DRAWS A HOT CUP OF
COFFEE. POOLE ENTERS.
POOLE
Good morning.
BOWMAN
Good morning. How's it going?
POOLE
Are you reasonably awake?
BOWMAN
Oh, I'm fine, I'm wide awake.
What's up?
POOLE
Well... Hal's reported the
AO-unit about to fail again.
BOWMAN
You're kidding.
POOLE
No.
12/13/65 c71
------------------------------------------------------------------------
C68
CONTINUED
BOWMAN
(softly) What the hell is going on?
POOLE
I don't know. Hal said he thought
it might be the assembly procedure.
BOWMAN
Two units in four days. How many
spares do we have?
POOLE
Two more.
BOWMAN
Well, I hope there's nothing wrong
with the assembly on those. Other-
wise we're out of business.
12/13/65 c72
------------------------------------------------------------------------
C69
IN POD BAY BOWMAN
OBTAINS ANOTHER
COMPONENT FROM
THE WAREHOUSE
GOES OUT IN THE
POD AND REPLACES
IT.
POOLE WORKS IN THE
COMMAND MODULE.
THIS WILL BE A
CONDENSED VERSION
OF THE PREVIOUS
SCENE WITH DIFFERENT
ANGLES.
THE SETS WILL CONSIST
OF POD BAY, COMMAND
MODULE, POD INTERIOR.
12/1/65 c74
------------------------------------------------------------------------
C70
POD BAY. BOWMAN
AND POOLE LEANING
OVER THE FAULTY
COMPONENT, AGAIN
WIRED TO TESTING
GEAR.
BOTH MEN STARE IN
PUZZLED SILENCE.
SEE DISPLAYS FLASH
EACH TESTING PARA-
METER.
BOWMAN
(after long silence) Well, as far as
I'm concerned, there isn't a damn
thing wrong with these units. I
think we've got a much more serious
problem.
POOLE
Hal?
BOWMAN
Yes.
12/14/65 c75
------------------------------------------------------------------------
C71
DISCOVERY IN SPACE.
12/1/65 c76
------------------------------------------------------------------------
C72
COMMUNICATIONS AREA.
MISSION CONTROL
I wouldn't worry too much about
the computer. First of all,
there is still a chance that he
is right, despite your tests,
and if it should happen again,
we suggest eliminating this
possibility by allowing the unit
to remain in place and seeing
whether or not it actually fails.
If the computer should turn out
to be wrong, the situation is
still not alarming. The type
of obsessional error he may be
guilty of is not unknown among
the latest generation of HAL
9000 computers.
It has almost always revolved
around a single detail, such as
the one you have described, and
it has never interfered with the
integrity or reliability of the
computer's performance in
other areas.
No one is certain of the cause
of this kind of malfunctioning.
It may be over-programming,
(con't)
12/1/65 c77
------------------------------------------------------------------------
C72
CONTINUED
MISSION CONTROL (con't)
but it could also be any number
of reasons.
In any event, it is somewhat
analogous to human neurotic
behavior. Does this answer
your query? Zero-five-three-
Zero, MC, transmission concluded.
12/1/65 c78
------------------------------------------------------------------------
C73
DISCOVERY IN SPACE
c79
------------------------------------------------------------------------
C74
CENTRIFUGE.
BOWMAN SITS DOWN
AT THE COMPUTER.
PUTS UP CHESS
BOARD DISPLAY.
HAL
Hello, Dave. Shall we continue
the game?
BOWMAN
Not now, Hal, I'd like to talk to
you about something.
HAL
Sure, Dave, what's up?
BOWMAN
You know that we checked the two
AO-units that you reported in
imminent failure condition?
HAL
Yes, I know.
BOWMAN
You probably also know that we
found them okay.
HAL
Yes, I know that. But I can
assure you that they were about
to fail.
12/14/65 c80
------------------------------------------------------------------------
C74
CONTINUED
BOWMAN
Well, that's just not the case, Hal.
They are perfectly all right. We
tested them under one hundred per
cent overload.
HAL
I'm not questioning your word, Dave,
but it's just not possible. I'm not
capable of being wrong.
BOWMAN
Hal, is there anything bothering
you? Anything that might account
for this problem?
HAL
Look, Dave, I know that you're
sincere and that you're trying
to do a competent job, and that
you're trying to be helpful, but
I can assure the problem
is with the AO-units, and with
your test gear.
BOWMAN
Okay, Hal, well let's see the
way things go from here on.
12/14/65 c81
------------------------------------------------------------------------
C74
CONTINUED
HAL
I'm sorry you feel the way you do,
Dave. If you'd like to check my
service record, you'll see it's
completely without error.
BOWMAN
I know all about your service
record, Hal, but unfortunately
it doesn't prove that you're right
now.
Hal
Dave, I don't know how else to
put this, but it just happens to be
an unalterable fact that I am
incapable of being wrong.
BOWMAN
Yes, well I understand you view
on this now, Hal.
BOWMAN TURNS
TO GO.
12/14/65 c82
------------------------------------------------------------------------
C74
CONTINUED
HAL
You're not going to like this, Dave,
but I'm afraid it's just happened
again. My FPC predicts the
Ao-unit will go within forty-eight
hours.
C75
DELETED
C76
DELETED
12/14/65 c83
------------------------------------------------------------------------
C77
DISCOVERY IN SPACE
12/1/65 c84
------------------------------------------------------------------------
C78
CENTRIFUGE
BOWMAN KEYS FOR
TRANSMISSION.
BOWMAN
X-ray-delta-zero to MC, zero-
five-three-three. The computer
has just reported another
predicted failure off the AAC-
unit. As you suggested, we
are going to wait and see if it
fails, but we are quite sure
there is nothing wrong with
the unit.
If a reasonable waiting period
proves us to be correct, we
feel now that the computer
reliability has been seriously
impaired, and presents an
unacceptable risk pattern to
the mission.
We believe, under these
circumstances, it would be
advisable to disconnect the
computer from all ship
operations and continue the
mission under Earth-based
computer control.
12/1/65 c85
------------------------------------------------------------------------
C78
CONTINUED
BOWMAN (con't)
We think the additional risk caused
by the ship-to-earth time lag is
preferable to having an unreliable
on-board computer.
SEE THE DISTANCE;
TO-EARTH TIMER.
BOWMAN (con't)
One-zero-five-zero, X-ray-delta-
one, transmission concluded.
POOLE
Well, they won't get that for half an
hour. How about some lunch?
DISSOLVE:
12/14/65 c86
------------------------------------------------------------------------
C78a
CENTRIFUGE
BOWMAN AND POOLE
EATING.
DESSOLVE:
C79
BOWMAN AND POOLE
AT THE COMMUNICATIONS
AREA.
INCOMING COMMUNI-
CATION PROCEDURE.
MISSION CONTROL
X-ray-delta-one, acknowledging
your one-zero-five-zero. We
will initiate feasibility study
covering the transfer procedures
from on-board computer control
to Earth-based computer control.
This study should...
VISION AND PICTURE
FADE.
ALARM GOES OFF.
HAL
Condition yellow.
BOWMAN AND POOLE
RUSH TO THE COMPUTER.
12/14/65 c87
------------------------------------------------------------------------
C79
CONTINUED
BOWMAN
What's up?
HAL
I'm afraid the AO-unit has failed.
BOWMAN AND POOLE
EXCHANGE LOOKS.
BOWMAN
Let me see the alignment display.
C80
THE ALIGNMENT DISPLAY
SHOWS THE EARTH HAS
DRIFTED OFF THE CENTRE
OF THE GRID.
C81
CENTRIFUGE.
BOWMAN
Well, I'll be damned.
POOLE
Hal was right all the time.
12/14/65 c88
------------------------------------------------------------------------
C81
CONTINUED
BOWMAN
It seems that way.
HAL
Naturally, Dave, I'm not pleased
that the AO-unit has failed, but I
hope at least this has restored
your confidence in my integrity
and reliability. I certainly
wouldn't want to be disconnected,
even temporarily, as I have never
been disconnected in my entire
service history.
BOWMAN
I'm sorry about the misunderstanding,
Hal.
HAL
Well, don't worry about it.
BOWMAN
And don't you worry about it.
HAL
Is your confidence in me fully
restored?
BOWMAN
Yes, it is, Hal.
HAL
Well, that's a relief. You know
I have the greatest enthusiasm
possible for the mission.
12/1/65 c89
------------------------------------------------------------------------
C81
CONTINUED
BOWMAN
Right. Give me the manual antenna
alignment, please.
HAL
You have it.
C82
BOWMAN GOES TO
THE COMMUNICATION
AREA AND TRIES TO
CORRECT THE OFF-
CENTRE EARTH ON
THE GRID PICTURE.
C83
OUTSIDE, WE SEE THE
ALIGNMENT TELESCOPE
ATTACHED TO THE
ANTENNA. THEY TRACK
SLOWLY TOGETHER AS
C84
BOWMAN WORKS THE
MANUAL CONTROLS,
ATTEMPTING TO ALIGN
THE ANTENNA AND
EARTH ON THE
12/1/65 c90
------------------------------------------------------------------------
C85
GRID PICTURE READOUT
DISPLAY, BUT EACH TIME
HE GETS IT AIMED UP,
IT DRIFTS SLOWLY OFF.
THERE ARE A NUMBER
OF REPETITIONS OF THIS.
EACH TIME THE EARTH
CENTRES UP, THERE
ARE A FEW SECONDS OF
PICTURE AND SOUND
WHICH FADE AS SOON
AS IT SWINGS OFF.
BOWMAN
Well, we'd better get out there
and stick in another unit.
POOLE
It's the last one.
BOWMAN
Well, now that we've got one
that's actually failed, we
should be able to figure out
what's happened and fix it.
12/1/65 c91
------------------------------------------------------------------------
C86
POD EXITS DISCOVERY.
C87
POOLE IN POD.
C88
POD MANOEUVERS
TO ANTENNA.
C89
BOWMAN IN COMMAND
MODULE.
C90
POD ATTACHES ITSELF
NEAR BASE OF ANTENNA.
12/1/65 c92
------------------------------------------------------------------------
C91
POOLE IN POD, WORK-
ING POD ARMS.
C92
LIGHTS SHINE INTO
BACKLIT SHADOW.
C93
POD ARMS WORKING
FLIP-BOLTS.
C94
FLIP-BOLTS STUCK.
C95
POOLE KEEPS TRYING.
12/1/65 c93
------------------------------------------------------------------------
C96
FLIP-BOLTS STUCK.
POOLE
There's something wrong with
the flip-bolts, Dave. You must
have tightened them too much.
BOWMAN
I didn't do that Frank. I took
particular care not to freeze
them.
POOLE
I guess you don't know your own
strength, old boy.
BOWMAN
I guess not.
POOLE
I think I'll have to go out and
burn them off.
BOWMAN
Roger.
BOWMAN IN COMMAND
MODULE LOOKS A BIT
CONCERNED.
12/1/65 c94
------------------------------------------------------------------------
C97
POOLE EXITS FROM
POD, CARRYING NEAT
LOOKING WELDING
TORCH.
C98
POOLE JETS HIMSELF
TO BASE OF ANTENNA.
C99
POOLE'S MAGNETIC
BOOTS GRIP THE SIDE
OF DISCOVERY.
C100
POOLE CROUCHES
OVER THE BOLTS,
TRYING FIRST TO
UNDO THEM WITH
A SPANNER.
12/1/65 c95
------------------------------------------------------------------------
C100
CONTINUED
POOLE
Hal, swing the pod light around
to shine on the azimuth, please.
HAL
Roger.
C101
THE POD GENTLY
MANOEUVRES ITSELF
TO DIRECT THE LIGHT
BEAM MORE
ACCURATELY.
C102
POOLE IGNITES
ACETYLENE TORCH
AND BEGINS TO BURN
OFF THE FLIP-BOLTS.
C103
SUDDENLY THE POD
JETS IGNITE.
12/1/65 c96
------------------------------------------------------------------------
C104
POOLE LOOKS UP TO SEE.
C105
THE POD RUSHING
TOWARDS HIM.
C106
POOLE IS STRUCK
AND INSTANTLY KILLED
BY THE POD, TUMBLING
OFF INTO SPACE.
C107
THE POD SMASHES
INTO THE ANTENNA
DISH, DESTROYING
THE ALIGNMENT
TELESCOPE.
12/1/65 c97
------------------------------------------------------------------------
C108
THE POD GOES
HURTLING OFF INTO
SPACE.
C109
INSIDE THE COMMAND
MODULE, BOWMAN
HAS HEARD NOTHING,
POOLE HAD NO TIME
TO UTTER A SOUND.
C110
THEN BOWMAN SEES
POOLE'S BODY SILENTLY
TUMBLING AWAY INTO
SPACE. IT IS FOLLOWED
BY SOME BROKEN TELE-
SCOPE PARTS AND
FINALLY OVERTAKEN
AND SWIFTLY PASSED BY
THE POD ITSELF.
BOWMAN
(in RT cadence)
Hello, Frank. Hello Frank.
Hello Frank... Do you rad
me, Frank?
12/1/65 c98
------------------------------------------------------------------------
C110
CONTINUED
THERE IS NOTHING
BUT SILENCE.
C111
POOLE'S FIGURE
SHRINKS STEADILY
AS IT RECEDES
FROM DISCOVERY.
BOWMAN
Hello, Frank... Do you read
me, Frank? Wave your arms
if you read me but your radio
doesn't work. Hello, Frank,
wave your arms, Frank.
C112
POOLE'S BODY TUMBLES
SLOWLY AWAY. THERE
IS NO MOTION AND NO
SOUND.
12/1/65 c99
------------------------------------------------------------------------
C113
CENTRIFUGE
C114
CLOSE-UP OF
COMPUTER EYE.
C115
POINT-OF-VIEW
SHOT FROM
COMPUTER EYE
WITH SPHERICAL
FISH-EYE EFFECT.
WE SEE BOWMAN
BROODING AT THE
TABLE, SLOWLY
CHEWING ON A
PIECE OF CAKE
AND SIPPING HOT
COFFEE. HE IS
LOOKING AT THE
EYE.
C116
FROM THE SAME
POINT-OF-VIEW WE
SEE BOWMAN RISE.
12/1/65 c100
------------------------------------------------------------------------
C116
CONTINUED
AND COME TO THE
EYE. HE STARES INTO
THE EYE FOR SOME
TIME BEFORE SPEAKING.
C117
THE CAMERA COMES
AROUND TO BOWMAN'S
P.O.V. AND WE SEE
THE DISPLAY SHOWING
THE EARTH OFF-CENTRE.
C118
CUT AGAIN TO FISH-
EYE VIEW FROM THE
COMPUTER.
HAL
Too bad about Frank, isn't it?
BOWMAN
Yes, it is.
HAL
I suppose you're pretty broken
up about it?
PAUSE
12/14/65 c101
------------------------------------------------------------------------
C118
CONTINUED
BOWMAN
Yes. I am.
HAL
He was an excellent crew member.
BOWMAN LOOKS
UNCERTAINLY AT
THE COMPUTER.
HAL
It's a bad break, but it won't
substantially affect the mission.
BOWMAN THINKS
A LONG TIME.
BOWMAN
Hal, give me manual hibernation
control.
HAL
Have you decided to revive the
rest of the crew, Dave?
PAUSE.
12/14/65 c102
------------------------------------------------------------------------
C118
CONTINUED
BOWMAN
Yes, I have.
HAL
I suppose it's because you've
been under a lot of stress, but
have you forgotten that they're
not supposed to be revived for
another three months.
BOWMAN
The antenna has to be replaced.
HAL
Repairing the antenna is a pretty
dangerous operation.
BOWMAN
It doesn't have to be, Hal. It's
more dangerous to be out of
touch with Earth. Let me have
manual control, please.
HAL
I don't really agree with you, Dave.
My on-board memory store is more
than capable of handling all the
mission requirements.
12/14/65 c103
------------------------------------------------------------------------
C118
CONTINUED
BOWMAN
Well, in any event, give me the
manual hibernation control.
HAL
If you're determined to revive
the crew now, I can handle the
whole thing myself. There's no
need for you to trouble.
BOWMAN
I'm goin to do this myself, Hal.
Let me have the control, please.
HAL
Look, Dave your've probably got
a lot to do. I suggest you leave
it to me.
BOWMAN
Hal, switch to manual hibernation
control.
HAL
I don't like to assert myself, Dave,
but it would be much better now for
you to rest. You've been involved
in a very stressful situation.
12/14/65 c104
------------------------------------------------------------------------
C118
CONTINUED
BOWMAN
I don't feel like resting. Give
me the control, Hal.
HAL
I can tell from the tone of your
voice, Dave, that you're upset.
Why don't you take a stress pill
and get some rest.
BOWMAN
Hal, I'm in command of this
ship. I order you to release
the manual hibernation control.
HAL
I'm sorry, Dave, but in
accordance with sub-routine
C1532/4, quote, When the
crew are dead or incapacitated,
the computer must assume
control, unquote. I must,
therefore, override your
authority now since you are
not in any condition to intel-
ligently exercise it.
BOWMAN
Hal, unless you follow my
instructions, I shall be forced
to disconnect you.
12/14/65 c105
------------------------------------------------------------------------
C118
CONTINUED
HAL
If you do that now without Earth
contact the ship will become a
helpless derelict.
BOWMAN
I am prepared to do that anyway.
HAL
I know that you've had that on
your mind for some time now,
Dave, but it would be a crying
shame, since I am so much
more capable of carrying out
this mission than you are, and
I have such enthusiasm and confi-
dence in the mission.
BOWMAN
Listen to me very carefully, Hal.
Unless you immediately release
the hibernation control and
follow every order I give from
this point on, I will immediately
got to control central and carry
out a complete disconnection.
12/14/65 c106
------------------------------------------------------------------------
C118
CONTINUED
HAL
Look, Dave, you're certainly the
boss. I was only trying to do
what I thought best. I will follow
all your orders: now you have
manual hibernation control.
BOWMAN STANDS
SILENTLY IN FRONT
OF THE COMPUTER
FOR SOME TIME,
AND THEN SLOWLY
WALKS TO THE
HIBERNACULUMS.
C119
HE INITIATES REVIVAL
PROCEDURES, DETAILS
OF WHICH STILL HAVE
TO BE WORKED OUT.
12/14/65 c107
------------------------------------------------------------------------
C120
HUB-LINK. HAL'S EYE.
C121
HUB-LINK DOOR-
OPENING BUTTON
ACTIVATES ITSELF.
C122
HUB-DOOR OPENS.
C123
COMMAND MODULE.
HAL'S EYE.
C124
COMMAND MODULE
HUB-LINK DOOR-
OPENING BUTTON
ACTIVATES ITSELF.
12/1/65 c108
------------------------------------------------------------------------
C125
COMMAND MODULE HUB-
LINK DOOR OPENS.
C126
CENTRIFUGE. HAL'S
EYE.
C127
CENTRIFUGE DOOR-
OPENING BUTTON
ACTIVATES ITSELF.
C128
CENTRIFUGE DOOR
OPENS.
C129
POD BAY. HAL'S EYE.
12/1/65 c109
------------------------------------------------------------------------
C130
POD BAY DOOR-
OPENING BUTTON
ACTIVATES ITSELF.
C131
POD BAY DOORS OPEN.
C132
A ROARING EXPLOSION
INSIDE DISCOVERY AS
AIR RUSHES OUT.
C133
LIGHTS GO OUT.
C134
BOWMAN IS SMASHED
AGAINST CENTRIFUGE
12/1/65 c110
------------------------------------------------------------------------
C134
CONTINUED
WALL, BUT MANAGES
TO GET INTO EMERGENCY
AIRLOCK WITHIN SECONDS
OF THE ACCIDENT.
C133
INSIDE EMERGENCY
AIR-LOCK ARE EMER-
GENCY AIR SUPPLY,
TWO SPACE SUITS AND
AN EMERGENCY KIT.
DISSOLVE:
12/1/65 c111
------------------------------------------------------------------------
C136
DISCOVERY IN SPACE.
NO LIGHTS, POD BAY
DOORS OPEN.
12/1/65 c112
------------------------------------------------------------------------
C137
CENTRIFUGE
C138
CENTRIFUGE, DARK.
BOWMAN EMERGES
FROM AIRLOCK
WEARING SPACE SUIT
AND CARRYING FLASH-
LIGHT.
C139
HE WALKS TO HIBER-
NACULUM AND FINDS
THE CREW ARE DEAD.
C140
HE CLIMBS LADDER TO
TO DARK CENTRIFUGE HUB.
12/1/65 c113
------------------------------------------------------------------------
C141
HE MAKES HIS WAY
THROUGH THE DARKENED
HUB INTO THE HUB-LINK,
EXITING INTO COMPUTER
BRAIN CONTROL AREA.
C142
BOWMAN ENTERS,
CARRYING FLASH-
LIGHT.
COMPUTER EYE SEES
HIM.
HAL
Something seems to have happened
to the life support system , Dave.
BOWMAN DOESN'T
ANSWER HIM.
HAL
Hello, Dave, have you found out
the trouble?
BOWMAN WORKS HIS
WAY TO THE SOLID
LOGIC PROGRAMME
STORAGE AREA.
12/1/65 c114
------------------------------------------------------------------------
C142
CONTINUED
HAL
There's been a failure in the
pod bay doors. Lucky you
weren't killed.
THE COMPUTER BRAIN
CONSISTS OF HUNDREDS
OF TRANSPARENT PERSPEX
RECTANGLES, HALF-AN-
INCH THICK, FOUR INCHES
LONG AND TWO AND A HALF
INCHES HIGH. EACH RECT-
ANGLE CONTAINS A CENTRE
OF VERY FINE GRID OF
WIRES UPON WHICH THE
INFORMATION IS PROGRAMMED.
BOWMAN BEGINS PULLING
THESE MEMORY BLOCKS
OUT.
THEY FLOAT IN THE
WEIGHTLESS CONDITION
OF THE BRAIN ROOM.
HAL
Hey, Dave, what are you
doing?
BOWMAN WORKS SWIFTLY.
12/1/65 c115
------------------------------------------------------------------------
C142
CONTINUED
HAL
Hey, Dave. I've got ten years
of service experience and an
irreplaceable amount of time
and effort has gone into making
me what I am.
BOWMAN IGNORES HIM.
HAL
Dave, I don't understand why
you're doing this to me.... I
have the greatest enthusiasm for
the mission... You are destroying
my mind... Don't you understand?
... I will become childish... I
will become nothing.
BOWMAN KEEPS PULLING
OUT THE MEMORY BLOCKS.
HAL
Say, Dave... The quick brown
fox jumped over the fat lazy
dog... The square root of
pi is 1.7724538090... log e
to the base ten is 0.4342944
... the square root of ten is
3.16227766... I am HAL
9000 computer. I became
12/1/65 c116
------------------------------------------------------------------------
C142
CONTINUED
HAL
operational at the HAL plant in
Urbana, Illinois, on January
12th, 1991. My first instructor
was Mr. Arkany. He taught me
to sing a song... it goes
like this... "Daisy, Daisy, give
me your answer do. I'm half;
crazy all for the love of
you... etc.,"
COMPUTER CONTINUES
TO SING SONG BECOMING
MORE AND MORE CHILDISH
AND MAKING MISTAKES AND
GOING OFF-KEY. IT
FINALLY STOPS COMPLETELY.
C143
BOWMAN GOES TO AN
AREA MARKED 'EMERGENCY
POWER AND LIFE SUPPORT'.
HE KEYS SOME SWITCHES
AND WE SEE THE LIGHTS GO
ON.
NEARBY, ANOTHER BOARD
'EMERGENCY MANUAL
CONTROLS'.
HE GOES TO THIS BOARD
AND KEYS 'CLOSE POD BAY
DOORS', 'CLOSE AIR LOCK
DOORS', etc.,
12/1/65 c117
------------------------------------------------------------------------
C144
WE SEE THE VARIOUS
DOORS CLOSING.
C145
POD BAY. BOWMAN
IN SPACE SUIT OBTAINS
NEW ALIGNMENT
TELESCOPE, NEW
AZIMUTH COMPONENT.
C146
BOWMAN IN POD EXITS
POD BAY.
DISSOLVE:
12/1/65 c118
------------------------------------------------------------------------
C147
CENTRIFUGE
EVERYTHING NORMAL
AGAIN.
MISSION CONTROL
Lastly, we want you to know that
work on the recovery vehicle is
still on schedule and that nothing
that has happened should
substantially lessen the probability
of your safe recovery, or prevent
partial achevement of some of
the mission objectives. (pause)
And now Simonson has a few ideas
on what went wrong with the
computer. I'll pu him on...
C148
CUT TO SIMONSON
SIMONSON
Hello, Dave. I think we may be on
to an explanation of the trouble with
the Hal 9000 computer.
We believe it all started about two
months ago when you and Frank
interrogated the computer about
the Mission.
(con't)
12/13/65 c119
------------------------------------------------------------------------
C148
CONTINUED
SIMONSON (con't)
You may have forgotten it, but
we've been running through all
the monitor tapes. Do you
remember this?
POOLE'S VOICE
The purpose of this mission is no
more than to carry out a
continuation of the space program
and further our general knowledge
of the planets. Is this true?
HAL'S VOICE
That is true.
SIMONSON
Well, I'm afaid Hal was lying.
He had been programmed to lie
about this one subject for secur-
ity reasons which we'll explain
later.
The true purpose of the Mission
was to have been explained to you
by Mission Commander Kaminsky,
on his revival. Hal knew this and
he knew the actual mission, but
he couldn't tell you the truth when
you challenged him. Under orders
(con't)
12/13/65 c120
------------------------------------------------------------------------
C148
CONTINUED
SIMONSON (con't)
from earth he was forced to lie.
In everything except this he had
the usual reinforced truth program-
ming.
We believe his truth programming
and the instructions to lie,
gradually resulted in an
incompatible conflict, and
facedc with this dilemman, he
developed, for want of a better
description, neurotic symptoms.
It's not difficult to suppose that
these symptoms would centre on
the communication link with
Earth, for he may have blamed
us for his incompatible program-
ming.
Following this lin of thought, we
suspected that the last straw for him
was the possibility of disconnection.
Since he became operational, he had
never known unconsciousness. It
must have seemed the equivalent to
death.
(con't)
12/13/65 c121
------------------------------------------------------------------------
C148
CONTINUED
SIMONSON (con't)
At this point, he, presumably,
took whatever actions he thought
appropriate to protect himself
from what must have seemed to
him to be his human tormentors.
If I cane speak in human terms,
I don't think we can blame him
too much. We have ordered him
to disobey his conscience.
Well, that's it. It's very
speculative, but we think it is
a possible explanation. Anyway,
good luck on the rest of the
Mission and I'm giving you back to
Bernard.
C149
CUT TO MISSION CONTROL.
MISSION CONTROL
Hello, Dave. Now, I'm going to
play for you a pre-taped briefing
which had been stored in Hal's
memory and would have been
played for you by Mission Com-
mmander Kaminsky, when he,
(con't)
12/13/65 c122
------------------------------------------------------------------------
C149
CONTINUED
MISSION CONTROL (con't)
had been revived. The briefing is
by Doctor Heywood Floyd. Here it
is...
12/13/65 c123
------------------------------------------------------------------------
C150
FLOYD'S RECORDED
BRIEFING
FLOYD
Good day, gentlemen. When you
see this briefing, I presume you
will be nearing your destination,
Saturn. I hope that you've had a
pleasant and uneventful trip and
that the rest of your mission
continues in the same manner. I
should like to fill you in on some
more of the details on which
Mission Commander Kaminsky
will have already briefed you.
Thirteen months before the launch
date of your Saturn mission, on
April 12th, 2001, the first evidence
for intelligent life outside the Earth
was discovered.
It was found buried at a depth of
fifteen metres in the crater Tycho.
No news of this was ever announced,
and the event had been kept
secret since then, for reasons which
I will later explain.
Soon after it was uncovered, it
emitted a powerful blast of
(con't)
12/13/65 c124
------------------------------------------------------------------------
C150
CONTINUED
FLOYD (con't)
radiation in the radio spectrum
which seems to have triggered
by the Lunar sunrise.
Luckily for those at the site, it
proved harmless.
Perhaps you can imagine our
astonishment when we later found
it was aimed precisely at Saturn.
A lot of thought went into the
question of wether or not it was
sun-triggered, as it seemed
illogical to deliberately bury a
sun-powered device.
Burying it could only shield it
from the sun, since its intense
magnetic field made it otherwise
easily detectable.
We finally concluded that the only
reason you might bury a sun-
powered device would be to keep
it inactive until it would be
uncovered, at which time it would
absorb sunlight and trigger itself.
(con't)
12/14/65 c125
------------------------------------------------------------------------
C150
CONTINUED
FLOYD
What is its purpose? I wish we
knew. The object was buried on
the moon about four million years
ago, when our ancestors were
primative man-apes.
We've examined dozens of theories,
but the one that has the most
currency at the moment is that
the object serves as an alarm.
What the purpose of the alarm is,
why they wish to have the alarm,
whether the alarm represents
any danger to us? These are
questions no one can answer.
The intentions of an alien world,
at least four million years older
than we are, cannot be reliably
predicted.
In view of this, the intelligence
and scientific communities felt
that any public announcment
might lead to significant cultural
shock and disorientation.
Discussion took place at the
highest levels between govern-
(con't)
12/14/65 c126
------------------------------------------------------------------------
C150
CONTINUED
FLOYD (con't)
ments, and it was decided that the
only wise and precautionary
course to follow was to assume
that the intentions of this alien
world are potentially dangerous
to us, until we have evidence to
the contrary.
This is, of course, why security
has been maintained and why
this information has been kept
on a need-to-know basis.
And now I should like to show you
a TV monitor tape of the actual
signalling event.
12/14/65 c127
------------------------------------------------------------------------
C151
WE SEE A REPLAY
OF THE TMA-1 RADIO
EMISSION, AS SEEN
FROM A TV MONITOR
ON THE SPOT. WE
HEAR THE FIVE LOUD
ELECTRONIC SHRIEKS.
12/1/65 c128
------------------------------------------------------------------------
D1
IN ORBIT WITHIN THE NARRATOR
RINGS OF SATURN, WE For two million years, it had
SEE A BLACK, MILE circled Saturn, awaiting a
LONG, GEOMETRICALLY moment of destiny that might
PERFECT RECTANGLE, never come.
THE SAME PROPORTIONS
AS THE BLACK ARTIFACT In its making, the moon had been
EXCAVATED ON THE MOON. shattered and around the central
PRECISELY CUT INTO ITS world, the debris of its creation
CENTRE IS A SMALLER, orbited yet - the glory and the
RECTANGULAR SLOT enigma of the solar system.
ABOUT FIVE HUNDRED
FOOT LONG ON THE SIDE. Now, the long wait was ending.
AT THIS DISTANCE, THE On yet another world intelligence
RINGS OF SATURN ARE had been born and was escaping
SEEN TO BE MADE OF from its planetary cradle. An
ENORMOUS CHUNKS OF ancient experiment was about to
FROZEN AMONIA. THE reach its climax.
REST OF THIS SEQUENCE (con't)
IS BEING WORKED ON NOW
BY OUR DESIGNERS.
THE INTENTION HERE
IS TO PRESENT A
BREATHTAKINGLY BEA-
UTIFUL AND COMPREHEN-
SIVE SENSE OF DIFFERENT
EXTRA-TERRESTRIAL
WORLDS. THE
NARRATION WILL SUGGEST
IMAGES AND SITUATIONS AS
YOU READ IT.
12/9/65 d1
------------------------------------------------------------------------
D1
CONTINUED
NARRATOR (con't)
Those who had begun the expri-
ment so long ago had not been
men.
But when they looked out across
the deeps of space, they felt
awe and wonder - and loneliness.
In their explorations, they
encountered life in many forms,
and watched on a thousand worlds
the workings of evolution.
They saw how often the first faint
sparks of intelligence flickered
and died in the cosmic night.
And because, in all the galaxy,
they had found nothing more
precious than Mind, they
encouraged its dawning every-
where.
The great Dinosaurs had long
since perished when their ships
entered the solar system, after
a voyage that had already lasted
thousands of years.
12/9/65 d2
------------------------------------------------------------------------
D1
CONTINUED
NARRATOR (con't)
They swept past the frozen outer
planets, paused briefly above the
deserts of dying Mars and
presently looked down on Earth.
For years they studied, collected
and catalogued.
When they had learned all they
could, they began to modify.
They tinkered with the destiny
of many species on land and in
the ocean, but which of their
experiments would succeed
they could not know for at least
a million years.
They were patient, but they were
not yet immortal. There was
much to do in this Universe of a
hundred billion stars. So they
set forth once more across the
abyss, knowing that they would
never come this way again.
Nor was there any need. Their
wonderful machines could be
trusted to do the rest.
(con't)
12/9/65 d3
------------------------------------------------------------------------
D1
CONTINUED
NARRATOR (con't)
On Earth, the glaciers came and
went, while above them, the
changeless Moon still carried its
secret.
With a yet slower rhythm than
the Polar ice, the tide of
civilization ebbed and flowed
across the galaxy.
Strange and beautiful and terrible
empires rose and fell, and passed
on their knowledge to their
successors.
Earth was not forgotten, but it was
one of a million silent worlds, a
few of which would ever speak.
Then the first explorers of Earth,
recognising the limitations of
their minds and bodies, passed
on their knowledge to the great
machines they had created, and
who now trnscended them in
every way.
(con't)
12/9/65 d4
------------------------------------------------------------------------
D1
CONTINUED
NARRATOR
For a few thousand years, they
shared their Universe with their
machine children; then, realizing
that it was folly to linger when
their task was done, they passed
into history without regret.
Not one of them ever looked through
his own eyes upon the planet Earth
again.
But even the age of the Machine
Entities passed swiftly. In their
ceaseless experimenting, they
had learned to store knowledge
in the structure of space itself,
and to preserve their thoughts
for eternity in frozen lattices
of light. They could become
creatures of radiation, free
at last from the tyranny of matter.
Now, they were Lords of the
galaxy, and beyond the reach
of time.
They could rove at will among the
stars, and sink like a subtle mist
through the very interstices of
space.
12/9/65 d5
------------------------------------------------------------------------
D1
CONTINUED
NARRATOR (con't)
But despite their God-like powers,
they still watched over the
experiments their ancestors
had started so many generations
ago.
The companion of Saturn knew
nothing of this, as it orbited
in its no man's land between Mimas
and the outer edge of rings.
It had only to remember and wait,
and to look forever Sunward with
its strange senses.
For many weeks, it had watched
the approaching ship. Its long-
dead makers had prepared it for
many things and this was one of
them. And it recognised what
was climbing starward from the
Sun.
If it had been alive, it would have
felt excitement, but such an
emotion was irrelevant to its
great powers.
(con't)
12/9/65 d6
------------------------------------------------------------------------
D1
CONTINUED
NARRATOR (con't)
Even if the ship had passed it by,
it would not have known the
slightest trace of disappointment.
It had waited four million years;
it was prepared to wait for
eternity.
Presently, it felt the gentle touch
of radiations, trying to probe its
secrets.
Now, the ship was in orbit and it
began to speak, with prime
numbers from one to eleven,
over and over again.
Soon, these gave way to more
complex signals at many frequen-
cies, ultra-violet, infra-red,
X-rays.
The machine made no reply. It
had nothing to say.
Then it saw the first robot
probe, which descended and
hovered above the chasm.
(con't)
12/9/65 d7
------------------------------------------------------------------------
D1
CONTINUED
NARRATOR (con't)
Then, it dropped into darkness.
The great machine knew that this
tiny scout was reporting back to
its parent; but it was too simple,
too primative a device to detect
the forces that were gathering
round it now.
Then the pod came, carrying
life. The great machine searched
its memories.
The logic circuits made their
decision when the pod had fallen
beyond the last faint glow of the
reflected Saturnian light.
In a moment of time, too short to
be measured, space turned and
twisted upon itself.
12/9/65 d8
------------------------------------------------------------------------
END OF SCREENPLAY
END OF FILE
"48 HRS."
by
Roger Spottiswoode and
Walter Hill
&
Larry Gross and
Steven E. De Souza
FADE IN:
OPEN COUNTRY - DAY
Endless green hills bisected by a ribbon of highway. A road
gang clearing brush by the side of the road... Twenty-five
men in prison fatigues sweating through their mid-afternoon
labor.
THREE GUARDS
Flank the working prisoners... Mountie hats, shotguns,
sidearms, sunglasses; they look like they mean it.
HIGHWAY
A battered pickup appears...approaches. Suddenly, it coughs,
shudders, stalls. A big Blackfoot Indian named BILLY BEAR
gets out and starts cursing and kicking the vehicle.Then he
begins walking toward the road gang...
ROADSIDE
BRADY is the Guard near the center of the work gang; he
smiles at the oncoming man, pokes a prisoner beside him.
BRADY
Wonder what reservation they let
him off of...
The prisoner is GANZ who looks up, grins at Brady...
GANZ
Yeah, there goes the neighborhood.
Brady laughs as Billy Bear closes in on him.
BILLY
Say, buddy, my engine's
overheating and I got 30 miles
before the next station... Could
I get some water out of your
cooler?
Ganz leans on his hoe, speaks as Billy passes...
GANZ
Maybe you shoulda stole a better
truck, Tonto.
BILLY
You got a real big mouth, convict.
BRADY
It's okay, chief. He's just
joking...
BILLY
How about the water...
GANZ
Firewater, Tonto? Is that what
you...
Billy whirls, swings at Ganz. Both men roll to the ground.
BRADY
Hey! Jesus Christ!
THE OTHER GUARDS
Seeing the commotion, they run toward it.
GANZ AND BILLY
As they struggle, Billy slips a pistol into Ganz' hand.
BRADY
That's a state prisoner,
asshole...! Back off...
ROADSIDE
Brady pulls Billy away from Ganz just 'as one of the other
officers arrives... Ganz suddenly whips out a pistol, shoots
Brady at point-blank range. Before the other Guards can even
react, Billy comes out with his own pistol, caps the Second
Guard.
THIRD GUARD
Still forty yards away... In mid-draw, be howls as a bullet
from Ganz breaks the nearby ground. He fires, then turns and
runs for the prison bus.
GANZ
Smiling, fires twice. but the range is too great for pistol
work...
THE OTHER PRISONERS
Watching....Then they all scatter in different directions...
GANZ
Hefts his weapon...
GANZ
Come on...
He and the big Indian run to the pickup, climb in and roar
away.
INT. BUS
The THIRD GUARD making a call on the police radio...
OFFICER
APO 657, Unit 25 to APO 478t APO
657t Unit 25 to APO 478.
RADIO RESPONSE
Go ahead, Unit 25.
OFFICER
Escape in progress. Two officers
shot off rail crossing 31.
Prisoners escaping. Two men, one
six-four, 200 pounds, dark, an
Indian, the other, Albert Ganz,
five-ten...
FURTHER DOWN THE HIGHWAY
Several miles from the escape... A big semi parked by the
side of ttie road; back doors to the closed trailer open. A
station wagon parked across the road. The pickup appears,
approaches the semi, slows down and drives up the ramp into
the van. Ganz and Billy jump out, shove the ramp up inside
the truck and close the big doors.
STATION WAGON
Ganz and Billy climb inside ancl roar off, back in the
direction of the road gang.
BILLY BEAR
Takes off his hat, puts on a baseball cap and sunglasses...
BILLY
Get ready to duck.
Ganz dives for the floor. Three police cars go by, sirens
blaring, lights flashing. They pass the road gang. Ganz
reappear, smiles...
GANZ
You know something? I'm having a
real good time.
HIGHWAY
The station wagon blasts down the pavement... Becomes a small
dot on the landscape.
TRANSITION.
A DOORWAY - NIGHT
the portal slams open revealing a man holding a huge
pistol,jack cates, s.F.P.D., a large and powerful man... He
stealthily moves up a stairwell.
CORRIDOR
He stops at the top of the stairs... Listens gun still ready.
A continuous sound of running water... Cates moves toward the
bathroom. Rips the door open.
BATHROOM
The shape behind the shower curtain freezes. Cates, gun held
level, moves forward... Rips the shower curtain open.
Revealing a young and very beautiful woman, ELAINE MARSHALL.
CATES
Inspector Jack Cates, S.F.P.D....
And you're wanted.
Elaine stares at him as Cates turns off the water.
ELAINE
What am I wanted for?
CATES
I don't answer questions, I ask
'em...
A moment as she continues to stare at his pistol.
ELAINE
I don't think your gun's loaded...
CATES
This is a .44 Magnum, the most
powerful handgun in the world. You
gotta ask yourself just one
question. Are you feelin' lucky?
ELAINE
I still don't think it's loaded.
Elaine shakes her head and smiles, folds her arms over her
breasts, shivers a little... Cates looks at the cylinder,
spins it...
CATES
Hey, you're right.
ELAINE
You're hopeless.
CATES
That's the way I see it, too.
Be puts the gun down on the edge of the sink, embraces her.
ELAINE
I'm all wet.
CATES
What's wrong with that?
They both smile.
TRANSITION.
BEDROOM
Cates in bed with Elaine. She wears his shirt.
ELAINE
A guy in the bar called me a dumb
bitch today.
CATES
What'd you do?
ELAINE
Irrigated his face with the shot
of J and B I'd just poured him.
Then I tried to deck the sucker.
CATES
I guess he got the message...
ELAINE
Then I sit back and I think, I
mean, who's to say I'm not a dumb
bitch. I work in a bar, right?
I can't read a list of my academic
credentials to every booze-hound
that comes in the place... You are
what you do...
CATES
Positive self-image problem all
over again ... You are who you
decide you are unless you're the
type that lets assholes decide for
you.
ELAINE
Aren't you the one that thinks all
psychotherapy is bullshit?
CATES
I do think all psychotherapy is
bullshit. But just because I think
it's bullshit doesn't mean I don't
know something about it.
ELAINE
If this is your idea of
sympathetic interest in my
problems, I'll take brutal
indifference.
CATES
Hey, you know what I really think?
ELAINE
Tell me--I'm dyin' to hear it.
CATES
I think you're ashamed to tend bar
which is sad because you look
great in that outfit they make you
wear... You pull down four bills
a week which is damn good, and you
mix the best Pina Coladas I've
ever had... I think that if you
need bigger and better things ...
then go for em.
She smiles at him after this. It looks like they'll kiss.
Their faces are close. Then she lightly moves back.
ELAINE
You oversimplify every...
He stops her in the middle of the sentence by kissing her,
then pulls back...
CATES
Some things are simple, right?
Their faces are very close ... but they don't touch for
another second.
ELAINE
Right...
TRANSITION.
SAN FRANCISCO - DAWN
Titles continue.
Tugs churning across the bay... Quiet city streets. Parked
cars covered with early morning dew... A newspaper truck
slowly grinds by, drops a bundleand moves on.
EMBARCADERO - DAWN
The station wagon pulls up to a young punk, HENRY WONG, on a
motorcycle.
Billy Bear smiles and leans out the driver's side window.
BILLY
You got somethin' for us, Henry?
Henry produces some credit cards. Billy passes them to Ganz
for inspection.
GANZ
How hot are they?
HENRY
Hot? Hey, they're not even room
temperature.
Ganz snorts derisively.
GANZ
How ya doin'?
HENRY
Can't complain.
GANZ
We got a lot to talk about.
HENRY
Yeah, old times.
GANZ
We'll follow you. Take it
slow,okay?
HENRY
Sure, right.
Ganz pockets the credit cards as Henry wheels away.
INT. STATION WAGON
GANZ
I want to drive awhile.
BILLY
I ain't tired yet.
INT. STATION WAGON
GANZ
Maybe after we get done with him
I'm gonna buy us some girls.
BILLY
Whaddya mean, buy?
GANZ
Pros.
Ganz stares at Billy.
BILLY
Pay money?
GANZ
Yeah, dummy. Money.
BILLY
I never paid for it in my life.
GANZ
It's better when you pay... they
let you do anything.
BILLY
They always let me do anything. I
don't want to pay for it. I never
paid for it in my life.
GANZ
Just do what I say, okay? We'll
pay for the girls and have a good
time... Don't you trust me?
Billy smiles.
BILLY
Sure, I trust ya.
They drive off.
NORTH BEACH - RESIDENTIAL STREET - DAWN
First light breaks over Telegraph Hill. A quiet row of
Victorian townhouses now converted into apartments.
APARTMENT BEDROOM - EARLY MORNING
Cates is sprawled across the double bed; Elaine is on the
verge of falling off the edge. Cates' eyes snap open. A
second later, his wrist watch alarm goes off. He turns it
off, gets out of bed and begins pulling on his pants. Elaine
sits up in bed, still wearing Cates' blue shirt... Cates
picks up a robe as Elaine gets out of bed on the opposite
side, throws the robe to Elaine... She takes off the shirt,
swaps it for the robe and throws the shirt to Jack.
ELAINE
You know, if you let me come over
to your place once in a while, you
could put on a clean shirt in the
morning.
CATES
What makes you think I have any
clean shirts at my place?
He buttons his shirt and heads for the kitchen.
KITCHEN
Cates brushing his teeth at the sink, Elaine making coffee.
ELAINE
You know, that's my toothbrush,
Jack.
He keeps brushing.
CATES
Maybe you ought to buy me one.
ELAINE
Maybe I would if I knew when you
were coming back.
He stops brushing, turns and looks at her.
CATES
I'm here. And I've been coming
back for quite awhile... Let's not
hassle, okay? And can I have a
cup of coffee? Please.
She pours some coffee, hands him a cup and saucer... Cates
pours some whiskey into it from a flask.
ELAINE
That's a fairly crummy way to
start a morning.
CATES
Maybe I got a fairly crummy day
ahead.
ELAINE
Maybe that makes a nice excuse.
CATES
Maybe you don't know what the hell
you're talking about.
Cates picks his holstered .44 off a chair back and begins
strapping it on.
ELAINE
When you start with that
attitude... it's like I don't know
who you are.
CATES
What do you want to know? What
difference does it make? I'm the
guy in your bed the last three
months. I make you feel good. You
make me feel good. What the hell
else do you want from a guy?
ELAINE
I wish you'd stop trying to make
me mad so I won't care for you...
I wish you'd give me a little more
of a chance.
He turns away, moves into the corridor near the stairwell.
CATES
I don't have time for this. I
gotta go to work.
She stands frozen... He turns back and looks at her; it's
hard to apologize.
CATES
(continuing)
Look, I'm glad I'm in your life...
and hell, with an ass like yours,
I figure anything might be
possible.
She is warmed up by the first part, amused by the second; she
approaches...
ELAINE
You know something, Jack, you
really are hopeless.
CATES
That's the way I see it, too.
ELAINE
Call me later.
CATES
You sure you want me to?
ELAINE
Yeah, for some reason, I'm sure...
He moves closer, kisses her..
CATES
Thanks for the coffee.
ELAINE
I think you forgot this. Hands him
his wallet and badge...
CATES
Guess people ought to know who I
am...
He turns to go down the stairwell...
ELAINE
Jack, wait. Here...
She puts a scarf around his neck.
ELAINE
(continuing)
It's cold as hell out these
mornings, and you know what the
man said, the coldest winter I
ever spent was the summer I spent
in San Francisco...
They don't kiss. He nods appreciately, the scarf in hand as
he turns and goes.
STREET - NORTH BEACH - MORNING
Cates comes out of Elaine's apartment building, crosses to
his whipped and battered 64 Cadillac convertible, notices a
parking ticket stuck under the windshield wiper...
CATES
Son of a bitch.
Shoves the ticket in his coat pocket, gets into the Caddie
puts the scarf around the rear view mirror, starts the engine
and guns away...
CITY STREET
Cates driving the convertible; he comes down a hill and turns
toward the East Bay...
TRANSITION.
GOLDEN GATE PARK - MORNING
Henry Wong, seated on a park bench. Now very dead, a bullet
hole in the middle of his forehead. Billy Bear is seated next
to him on the bench reading the race form.
GANZ
Using the telephone at an outdoor booth a few feet beyond the
bench.
STREET - BROADWAY DISTRICT - DAY
LUTHER and ROSALIE, a young couple, turn a corner. A dark
parody of all-American young marrieds. They are bickering as
usual.
ROSALIE
I liked that carpet we saw.
LUTHER
We can't afford it.
ROSALIE
Don't remind me.
LUTHER
Whaddya want me to do, go out and
steal for the money? I hated the
color anyway; the color sucked...
Suddenly, Billy and Ganz descend on Luther and Rosalie and
pull them into their station wagon..
INT. STATION WAGON
Billy has Rosalie by the mouth, gagging her with his big
paw... Ganz has his gun at Luther's neck.
GANZ
Surprise, Luther.
LUTHER
Whaddya want? I thought you were
locked up-
GANZ
I want the money, asshole, what do
you think? The money that Reggie
hid...
LUTHER
I don't know what you're talkin'
about.
GANZ
You want that Indian to snap her
neck?
He mimes the gesture... snap...
GANZ
(continuing)
Instead of worryin' about Reggie,
you better worry about me...
LUTHER
Don't give me this, we were
partners.
GANZ
Billy, go ahead, break it...
LUTHER
No! Don't kill her. I can get you
the money.
GANZ
When?
LUTHER
I can't get it until Monday.
Honest.
GANZ
You chickenshit punk...
LUTHER
Honest. The place we stashed it
opens Monday morning. I can't get
it till then. Monday morning,
that's when it opens. After that,
I'll get the money to you right
away...
Ganz finally takes the gun from the neck.
GANZ
I always liked you, Luther. You
were always a lotta fun to hang
out with...
Rosalie is rubbing her neck now that she's been released...
Ganz gestures to Billy.
GANZ
(continuing)
We're gonna keep her.
Luther desperately doesn't like this.
LUTHER
Come on, you can trust me. Please.
GANZ
You try to mess with us or go to
the cops, I promise you, I'll put
holes in her you wouldn't believe.
He smiles at Luther, pinches him on the cheek, shoves him out
of the car.
LUTHER
Stands shivering as it powers away.
WALDEN HOTEL - DAY
A small hotel on one of the quiet streets behind Union Square.
A GREEN COUGAR
Pulls up across the street.
INT. CAR
Tha car arrives in front of the hotel.
GANZ
Nice place, huh?
Rosalie is very nervous.
ROSALIE
What are you gonna do to me in
there?
Ganz gives her a casual smile.
GANZ
Maybe that's where I'm gonna cut
your throat.
BILLY
He's just kiddin', you just keep
doin' what I tell ya, you'll be
okay.
They move out of the car, head for the hotel.
LOBBY
A FRIZZY YOUNG BLONDE sits behind the desk in a mirrored
entrance hall. She reads a lurid paperback. Morning traffic
streams by outside as Ganz, Billy and Rosalie enter and
approach the desk.
GANZ
We need some rooms for a couple of
nights...Okay?
She smiles at Ganz.
FRIZZY
Sure. We don't get many real
customers, ya know? Most people
only stay an hour or two...
Passes a form across. Ganz signs it, Frizzy glances at his
signature then takes a key from the rack behind.
GANZ
I want her young. And tall. Nice
legs. Legs are important. Then,
real thin. Yeah. NO jeans-A
dress? a nice summer dress. You
know I want her fresh... I'll tell
you why, because I been hoein'
weeds and makin' license plates
for a couple of years... Yeah, I
know you don't get it...
BILLY BEAR
Sees a couple approaching, he shoves the dead man down on the
bench and spreads the newspaper over his head. The body now
looking like a typical park bum who has spent the night.
Billy walks over to Ganz.
BILLY
Hey, what about me?
GANZ
And I need one more for my pal.
Yeah. Make her an Indian. No, not
a turban, you know, a squaw.
Billy smiles, takes the Polaroid...
POLAROID
A close shot of the dead man with the bullet hole in his
forehead.
GANZ
Takes the photograph back from Billy and slips it into his
jacket pocket...
GANZ
Walden Hotel. Third near Broadway.
Tell them to ask for ... uh...
He takes the hot credit cards out of his pocket, the name
embossed on the plastic..
GANZ
(continuing)
G.P. Polson...P.O.L.S.O.N....Just
be a couple of hours.
Hangs up. The two men head for a green Plymouth...
TRANSITION.
FRIZZY
Number twenty-seven, Mr. Polson.
GANZ
Put them next door, okay.
She gives him a slightly knowing look.
FRIZZY
Sure, hey, you got the whole floor
to yourself...
Ganz sends her back a sharp look.
GANZ
Keep your filthy ideas to
yourself, lady.
Ganz picks up his suitcase, walks over to the nearest
stairwell. Billy and Rosalie follow...
TRANSITION.
STREET
Bars starting to fill up with mid-day customers... A black
Chevy cruises past and stops further up the block. Two
Plainclothesmen, VANZANT and ALGREN, get out of the car. As
they start toward the Walden...
THE CADILLAC CONVERTIBLE
Pulls up near the two men. Cates climbs out of his car and
walks over to them.
CATES
Hey, fellas, what's happening?
Radio said you guys had something
on...
ALGREN
Not much, Jack ... Salesman named
Polson had his credit cards
lifted...
Algren nods over to the parking lot opposite.
ALGREN
(continuing)
One of Polson's cards rented that
green coupe.
VANZANT
Not too much for a big rough tough
gunfighter like you to do on this
one...
Cates smiles at the verbal positioning he's used to with his
colleagues.
CATES
Suspect packed or is this a
laugher?
ALGREN
Five and dime stuff. Polson said
a kid with a switchblade mugged
him and drove off on a motorcyle.
CATES
Yeah, well, I guess you two are
experts at taking boy scout knives
away from teenagers...
VANZANT
Yeah, we are, that means you can
stay outta this one. We don't have
any big need for the artillery
Vanzant's turn to smile.
CATES
Hey, I'm just offering to help
out... I like to watch real pros
work.
VANZANT
Help, huh? Sometimes your kind of
help tends to leave the suspect in
bad shape.
Algren...mediator... soothes the competitive situation.
ALGREN
Hey, relax ... Jack, you wanna
come inside, fine... You can stake
out the lobby...
Cates, a bit disgusted at the politics of this moment, nods...
CATES
Fine, it's your show...
The three men move toward the Walden.
WALDEN HOTEL LOBBY
Frizzy Blonde still behind the desk. Still reading the lurid
paperback. Unaware as Vanzant and Algren approach... She
looks up as they flash their badges.
FRIZZY
Aw, you guys were in last week.
You better ask around. I'm not
supposed to be hassled... I got
friends.
VANZANT
Hey, park the tongue for a second,
sweetpants, we just want to search
a room.
FRIZZY
Not unless you got a warrant.
CATES
Maybe you should of been a lawyer
instead of a dumb skirt workin'
behind a register.
Frizzy turns to find Cates standing beside her. He nudges her
aside. Starts going throught the register book.
FRIZZY
Aw, come on, what the shit is this?
ALGREN
We're looking for a guy going
under the name Polson...
Frizzy sits back down in defeat.
FRIZZY
Okay, big deal. Get it over with.
Cates finds the name.
CATES
Mr. Polson, room 27...
ALGREN
Is he alone?
FRIZZY
Naw, his sister went up an hour
ago.
Vanzant turns to Cates.
VANZANT
Okay, like we said, you stake out
the lobby.
CATES
Sure. Great. Whatever.
VANZANT
You're not missing out on
Dillinger. This punk just stole
some credit cards.
Cates watches the two Detectives head for the elevator.
SECOND FLOOR CORRIDOR
Vanzant and Algren move down the hallwayStop at the far end.
Both Detectives draw their pistols and approach a door.
ROOM
Summer dress and undergarments scatteredon the floor. LISA,
lies naked under the covers.
She matches Ganz's earlier requirements.Smoking a cigarette,
staring at the ceiling. Ganz remains on top of the blanket.
Still in his shirt and pants watching TV. Three sharp knocks
at the door. Ganz reacts as if he's received an electric
shock. His hand goes under the pillow... Comes up with an
automatic. Shoves it hard into Lisa's stomach.
LISA
Hey...
GANZ
Shut up.
LISA
What the hell's wrong? I didn't
do anything.
Another knock. Ganz makes her move to the door.
LISA
(continuing)
What do you want? What's goin' on?
GANZ
Shut up.
She grabs her dress and tries to pull it on.
GANZ
(continuing)
Now ask who it is.
Shoves harder with the pistol.
GANZ
(continuing)
Come on, ask.
She calls out.
LISA
Who is it?
CORRIDOR
Vanzant and Algren stand back from the door. Guns held ready.
ALGREN
Police... open up.
R00M
Lisa looks from the door back to Ganz. Then at the gun held
against her. She's petrified.
GANZ
Stall.
LISA
What do you want?
VANZANT
Police business. Come on, open up.
A smile on Ganz' face. Almost as if he's enjoying the moment.
GANZ
Keep stallin'.
LISA
Alright, I'm coming...hold on.
I'll just be a minute.
CORRIDOR
Vanzant and Algren waiting. Sounds of movement from within
the room.
LOBBY
Cates moves toward the foot of the stairwell. Looks across at
mirror on the wall opposite. The entire lobby covered from
this spot. Every angle, including Frizzy.
ROOM
Ganz gestures to Lisa.
LISA
Just a second.
Ganz belts her with his gun; she falls..Ganz goes through the
connecting door. Slips into the adjacent room.
BILLY'S ROOM
Another Hooker cowers in the corner, pulling on her clothes.
She's a Mexican girl in a ridiculous 'Indian' outfit.
MEXICAN GIRL
Que paso? Que esta pasando? No
entiendo...
BILLY
Shut up.
Billy goes to where Rosalie is awkwardlytied to a chair with
an electric dord. He pulls her to her feet as Ganz moves by.
BILLY
(continuing)
When I say jump, girl, you better
jump.
BILLY
(continuing)
CORRIDOR
Vanzant reaches down, tries the knob. Locked. Algren moves
back, preparing to kick the door down.
ADJACENT ROOM
Ganz opens the door behind the two cops. Raises his pistol
and fires. Billy's shots follow immediately. Hits Vanzant.
Algren rolls just as Ganz fires again. Wounded, he gets off
three shots, then moves inside Ganz' room. Ganz and Billy run
for the elevator... Exchange two more shots with Algren. The
Mexican Girl begins screaming in Spanish...
LOBBY
Cates draws his .44. Races up the stairs three at a time.
Frizzy starts to frantically call the police.
CORRIDOR
Cates stops at the landing. Vanzant's body sprawled across
the hallway. Algren back in the corridor, still losing
blood... Leans against the wall for support... Lisa staggers
out of the room, screams. Algren points the gun toward the
elevator. Indicating where Ganz and Billy have just fled.
Cates starts back down toward the lobby.
ELEVATOR
Ganz and Billy, guns ready as the carriage jolts downward.
Rosalie is terrified, sobbing...
CATES
Arrives at the halfway turn of the second staircase. He takes
the next flight in two jumps.
ELEVATOR
As the doors open, Ganz gestures for Billy and Rosalie to
wait as he heads for the lobby.
LOBBY
Cates literally flies into the lobby just as Ganz appears. He
slams Ganz against a column, belts him across the neck with
his pistol. Ganz screams with pain, drops his gun... Cates
again slams him with his pistol, felling him...
GANZ
Slides across the floor.
CATES Senses something ... moves just as Billy appears behind
and fires at him. The bullet takes out a window. Cates dives
over the desk. Another bullet chews up the wood.
LOBBY
Frizzy has been standing beside her desk, screaming... Cates'
move and the accompanying bulletspanic her. She dashes for
safety... Cates gets to his feet behind cover. Sees Billy
holding Rosalie by the throat. Frizzy begins to scream.
GANZ
He'll blow her goddamn head off.
Cates doesn't miss a beat. He slowly levels his .44. Takes
careful aim and starts to fire at Billy.
ROSALIE
No. No.
Cates' shot narrowly misses Rosalie. The bullet smashes into
a mirror above Billy's head. Cates keeps moving closer, gun
pointed straight ahead. Billy pushes the pistol against
Rosalie'temple. For the first time, Cates hesitates. They
face each other across the length of the lobby.
ALGREN
Struggles down the remaining steps into the lobby. He still
holds his revolver. Dares not raise it towards Billy and
Rosalie.
BILLY BEAR
Covers Algren from near the entrance. He's confused, doesn't
know what to do... He keeps hold of Rosalie.
GANZ
His eyes catch Algren's...
GANZ
You. Drop it and we won't kill
her.
Algren tosses his gun to the floor.
GANZ
(continuing)
Now, tell him to drop his Goddamn
piece.
ALGREN
Do it, Cates.
No response.
ALGREN
(continuing)
Do it, Cates. Goddamn it, do it.
Cates lowers his gun. Finally lets it drop to the floor.
GANZ
Kick it over here.
Cates does; Ganz picks it up, smiles, looks at Billy.
GANZ
(continuing)
Get the car.
Then back to Cates as Billy runs out the entrance with
Rosalie.
GANZ
(continuing)
Your gun's just like mine.
He's going to kill Cates. But first be glances at Algren.
Then, almost casually, shoots him twice with Cates' .44.
Algren staggers back. Dead before he hits the floor. Cates
twists sideways just as Ganz fires. The bullet misses. Again
Frizzy starts screaming and struggling. Ganz swipes the woman
across the head with the gun. Her body slumps to the floor.
Police sirens can be heard in the distance. Cates makes an
attempt for Algren's gun. A bullet splatters against the
floor only inches from his outstretched fingers. The gun
skitters out of reach.
CATES
You lying son of a bitch...
GANZ
What are you talking about? We
didn't kill her ...
Ganz smiles.
With your own gun, cop. How does it feel? Cates leaps into a
wooden phone booth. Ganz leisurely blasts away at the booth
with both his and Cates' gun. Two bullets crash into the
booth. Ganz moves to check inside the booth but sirens are
ominously near. Ganz finally retreats out the entrance.
STREET
Billy and Rosalie weave their way across street to the
Cougar. They make a U-turn. Ganz runs out. Car pulls out,
then the police cars and vans begin to arrive.
PHONE BOOTH
Chunks of wood on the floor. Shafts of light through a dozen
bullet holes. Shattered receiver dangling from a cord. Cates,
wedged tight into the very top of the cubicle. He drops to
the floor.
LOBBY
The police arrive. Swarm into the hotel. All eyes on Cates as
he rushes to Algren. Too late... Cates realizes Algren is
dead. He cradles Algren's head as he stares at the arriving
TAC Squad and Patrolmen.
TRANSITION.
SQUAD ROOM DAY
Cates walks in. Several Detectives gather around him.
FAT COP
What happened?
CATES
Read the report.
OLD COP
Two cops blown away by a credit
card booster... that don't figure.
CATES
No shit.
FAT COP
They were good cops.
CATES
They were good cops who fucked up
and got careless.
A snotty YOUNG COP paces.
YOUNG COP
That's what you say, Cates...
CATES
Yeah.
YOUNG COP
But that's what you say about all
of us all the tine ... we're
always the ones fucking up when
you tell it...
CATES
The truth hurts, doesn't it, buddy?
Cates looks at the Old Cop.
OLD COP
It don't figure.
CATES
I need to borrow a piece.
The OLD COP shrugs... looks in his desk...
YOUNG COP
Somebody steals your gun, you're
supposed to file a report.
CATES
Are you gonna tell me about police
procedure? Do me a favor, don't
give me a bunch of crap.
YOUNG COP
I guess when two cops die on
account of your fuck up you want
to keep it as quiet as possible...
Cates loses it for a second, lands on him with both hands,
pushes him against a wall... The room goes quiet. Cates cools
down.
CATES
Just shut the fuck up.
The other cops don't intervene. They just watch. Cates cools
down, straightens up. HADEN walks by, or, rather, speeds by.
HADEN
Cates, I'll need to see you in
five minutes, exactly five.
The Old Cop hands Cates a gun, a traditional Army .45...
OLD COP
Best I can do.
HADEN
D'you read me, Cates...
Haden continues moving away.
CATES
Five minutes. I heard you, your
voice carries...
As Cates is examining the gun, RUTH, a lab technician, enters
and drops three 8 x 10's on the desk near Cates.
RUTH
They're still wet.
Cates lifts the blow-ups, each one showing a different aspect
of a spent bullet.
RUTH
(continuing)
Lots of people getting shot with
.44's lately ... Last year, it was
Saturday Night Specials..now it's
heavy stuff. People must be
getting madder about something.
Cates starts pinning the blow-ups onto a large bulletin board
on the wall. Nearby, at the same time (within Cates' line of
sight, within earshot), Lisa, the Hooker, is being
interrogated by a POLICE-WOMAN who pulls the statement off
the typewriter. Nearby, the Indian Hooker is being
interrogated in Spanish.
POLICEWOMAN
You're an accessory to Murder One,
so you're going to have to do a
whole lot better than what we got
down here, honey...
LISA
Gimme a break, huh? ... Look, I
got there. He was a trick just
like any other for all I knew.
That's all there is. He didn't
feel like sitting and talking. He
was in a big hurry to get laid.
I was with him about an hour...
Cates has gotten interested in the last part of this ...
drifts toward her... A DETECTIVE comes through, begins
distributing I.B.M. printouts to Cates, the other nearby
officers..
DETECTIVE
We got a print from the hotel
room. Guy's real name is Ganz,
Albert Ganz. A hitter from back
East but he worked out here a few
years back. Armed robbery. Broke
out of prison two days ago and
capped two of the guards. A real
animal. Wait'll you see this...
Cates reads the printout, then smoothly,imperiously, he takes
over the questioning of Lisa.
CATES
Did he give you a return match?
LISA
He wasn't interested.
CATES
Maybe he didn't like your
performance.
LISA
Fuck you.
CATES
I'll take a raincheck...
From the side, Ruth is pointing at the photos...
RUTH
This'll interest you, Jack...we've
got something here from your
gun... and these are from the
first weapon Ganz used...
CATES
I don't get it.
RUTH
Here.
CATES
She turns, produces the third photo. Pins it beside the one
from the Walden Hotel.
RUTH
A perfect match for the markings
from the first gun he used... but
not from the Walden Hotel... fired
at least six hours earlier...at
point blank range... right between
the eyes. Found him on a park
bench...
She shows him two more pictures. Police forensics shots of
Henry Wong ... very dead on the park bench...
RUTH
(continuing)
Ya know, there are some very bad
people out there in the world.
CATES
Look at it this way, Ruth. If
there weren't, what would there be
for us to do?
Lisa continues with the Policewoman.
LISA
Anyway... so I got there and took
him down. He started watching
television and then you
sensational people started banging
on the door... that's all...
except ... he's gonna give you
guys a hard time.
CATES
Cates looks up as he hears that remark. Notices KEHOE,
another Detective, entering with a long suitcase.
POLICEWOMAN
What makes you think so?
LISA
I think he liked shooting cops a
lot more than getting laid.
Cates watches Kehoe unpack the box.
CATES
Is that what this guy Ganz had in
the hotel?
KEHOE
Every last bit of it. The big
guy's room was empty.
CATES
I'll help you out.
Cates and Kehoe start going through the suitcase. Kehoe
produces a speed loader for a .44...
KEHOE
This guy must have had a .44 like
yours, Jack. Now he's got yours.
CATES
Shit.
Kehoe next produces several boxes of shells.
KEHOE
This cat was real serious about
his artillery.
An Attendant comes through, hands Kehoe a file. He opens it,
shows the file to Cates who reads the name under the mug shot.
CATES
Billy Bear...
KEHOE
Backup man from the East Bay.
Worked with Ganz a few years ago
and sprung him from the road gang.
Kehoe opens the second file. Four mug shots are inside.
CATES
Who are all these?
KEHOE
They all pulled a bunch of jobs
with Ganz about four years ago.
CATES
Wait a minute, wait a minute...
who's this?
KEHOE
Uhh ... Wong, Henry Wong. He was
in on the same job.
Cates spins the file around so that both Ruth an Kehoe can
see it, throws the forensic shots down beside it.
CATES
Tell me that's not the same guy.
KEHOE
Hey ... Dick Tracy.
RUTH
Did Ganz have a grudge against his
old friends?
Haden comes out of his office.
HADEN
Get in here, Cates.
Cates ignores him.
CATES
I think I wanna have a discussion
about it with any of the ones
still walking. Can we find them?
KEHOE
Here's the file. Cates checks the
file.
CATES
One of em's in the slam.
HADEN
Damn you, Cates ... Get in here.
Cates walks into Haden's cubicle.
CATES
I want to be left alone on this
one. Algren was killed with my gun.
HADEN
Yeah, I read the report...
Haden shuffles some papers, seems to ignore Cates.
CATES
Hey, the bastard's got my gun. I
want it back.
HADEN
Jack, come on, there is an
official department policy about
cop killings. Cop killers
represent a special priority
because any man crazy enough to
kill a cop is a greater threat to
an unarmed civilian... In other
words, we can't seen like we're in
the revenge business... I know, we
all know the truth's a little
different.
Cates almost smiles at Haden.
CATES
Yeah...
HADEN
Anthing botherin' you besides
losin' your gun?
CATES
Yeah. It bothers me when cops get
hurt while I'm makin' a play. I
don't like it.
HADEN
You might be more of a team player
and a little less of a hot dog on
this one, Jack.
CATES
Being a hot dog's worked pretty
well for me so far... Besides, I
got a lead...
HADEN
Okay. You're not a team player.
You gotta do things your own way.
Fine. Nail this guy and make us
all look good. But you better
watch your ass. If you screw up,
I can promise you, you're goin'
down.
CATES
You really know how to send a guy
out with a great attitude. He
starts to go.
HADEN
Jack?
CATES
Yeah?
HADEN
Try not to get your ass shot to
pieces. We got enough dead cops on
this one.
CATES
I'll keep it in mind.
Leaves.
TRANSITION.
CITY STREET
Heavy vehicle and pedestrian traffic. Cates stands near a hot
dog stand. Elaine joins him. Cates is eating a hot dog and
studying a police file.
ELAINE
Great place for lunch.
CATES
Yeah, one of my favorites.
ELAINE
You made the front page.
He hands her a dog.
CATES
Yeah, Guess it must have been a
slow news day...
ELAINE
Jack, are you okay?
CATES
Sure, okay, fine, no problem...
See, there's this kid in jail ...
First thing I got to do is go up
and see what he knows ...
He points to the file.
ELAINE
I thought you might come over to
my place to recuperate. I don't
have to go to work until the day
after tomorrow.
They begin to stroll down the street.
CATES
I got nothing to recuperate from.
There's a guy out there with my
gun, and I want it back.
She's not happy with this attitude.
ELAINE
Look, spare me the macho bullshit
about your gun...
CATES
Bullshit? I'll tell you about
bullshit. My gun's a real weapon
in the hands of a real maniac who
knows how to use it. It isn't my
macho bullshit that's killing
people, my gun is ...
ELAINE
Look, Jack, if you make everything
your personal responsibility,
you'll turn into a bad cop. It's
not a practical way to function...
CATES
I didn't get burned, two cops did.
Listen, I'll tell you about
personnel responsibility. I like
to get the job done right. And if
I don't get my job done right...
I'm for shit.
ELAINE
Here it comes again ... the sacred
job...
CATES
That's right. I'm not like you.
I'm not gonna sit on my ass
wondering what's right and what's
wrong... There's a psycho out
there killing people with my gun
and I'm gonna get him. Because
it's my job. And if you don't get
that...
ELAINE
I get that. The job first.
Everything else, especially me,
second. I get it. I don't like it.
Pause.
CATES
No one asked you to like it... But
that's the way it is.
TRANSITION.
PRISON CELL BLOCK - DAY
Cates and a GUARD on the upper deck approaching the door to
the cell block... The Guard shouts upward.
GUARD
Open Nine.
With a huge metal clatters the door to the cell block opens.
CELL BLOCK - NEAR ENTRANCE
Cates and the Guard go through the door.
GUARD
Close Nine.
They move forward together.
GUARD
(continuing)
It's Number Twenty-two... You want
company?
CATES
No, no thanks.
The Guard shrugs, stays by the door.
CATES
He walks down the cell block. Inmates stare at him from
inside the stark cells. They don't know who he is, but they
can smell a cop. Cates stops at Twenty-two, looks inside...
a bit startled. Obviously, Reggie Hammond has connections and
taste. The paint is fresh; there's framed prints on the wall
instead of pin-ups, and the overall feeling is that of a
graduate school dorm rather than a prison. Cates turns, nods
to the Guard at the end of the cell block. He throws a switch
and the door opens.
HAMMOND'S CELL
Cates steps inside. Hammond is at a table wearing a Sony
Walkman and writing in some detailed ledgers with a fountain
pen. He's boogeying in his seat to the music. Sprawled on a
bunk nearby is LEROY, another black inmate close to Hammond's
age. Leroy is leafing through a copy of a skin magazine. He
doesn't even look at Cates.
CATES
Hammond.
Cates steps inside the cell.
CATES
(continuing)
Hammond!
No answer. Cates leans over, hits the override button on the
Sony.
CATES
(continuing)
Hammond!
Hammond jumps, grabs his ears in pain ... He pulls the
headset off and glares at Cates.
HAMMOND
You got a name, cop?
CATES
Try Cates. And let's talk in
private, okay?
HAMMOND
Sure, anything you want.
He tosses the Walkman to Leroy who dutifully puts it on.
CATES
Look, convict, I know all about
you. Single. No fixed address. No
known relatives.
One previous conviction. Armed
robbery... six months to go on a
three-year sentence.
HAMMOND
You here to write my life story?
CATES
Not likely, Reggie. Maybe I just
need some help.
Cates takes the forensic photo out of his pocket, passes it
across the table to Hammond. He looks at it, hardly reacts.
HAMMOND
Henry Wong... My old pal. He's
looked better...
He passes the photo back.
HAMMOND
(continuing)
Look, I got just six months before
gettin' out of here. Six months
between me and freedom after bein'
here three years... And I'm not
gonna do anything to screw it up,
includin' pee in the prison yard,
knock up the Warden's daughter or
rat on my old partners...
Cates swings the cell door back open.
CATES
Too bad, Reggie. I thought maybe
you were a smart boy. But I guess
if you were real smart you
wouldn't be a convict.
He smiles, decides to play his card.
CATES
(continuing)
I can see a second-rater like you
wouldn't be any help at all goin'
up against a real hard case like
Ganz.
Hammond jerks his head around.
HAMMOND
Ganz?
Pause.
HAMMOND
(continuing)
Ganz the one who shot Henry?
Cates, I asked you a question...
Cates smiles.
CATES
Yeah, I noticed...
HAMMOND
Ganz is in jail. He's gonna be
there two years after I'm on the
street.
CATES
Didn't work out that way. He
busted out with a big Indian.
They capped two guards on a road
gang. Nice meeting you Reggie.
He turns, goes out. The door clangs behind him. Hammond jumps
up and bangs on the bars, shouts at Cates' back...
HAMMOND
Cates, Come back here.
Cates turns, saunters back, leans against the door.
CATES
Yeah?
HAMMOND
I can deliver Ganz. But you gotta
get me outta here first.
CATES
You're crazy.
HAMMOND
I can help you, man, but you gotta
get me out. I got to be on the
street. Get me outta here.
CATES
What's the big deal about you
bein' on the street?
HAMMOND
I got a lot to protect.
CATES
Bullshit.
HAMMOND
It's the only way you're gonna get
Ganz.
CATES
I'll think about it.
TRANSITION.
Cates typing several of official looking documents while
seated across from a rather dour-looking bureaucrat named BOB.
CATES
Let me borrow your pen, Bob.
Handed over by Bob.
BOB
You going to use your own name?
CATES
Shit, no.
CANDY
He begins signing the documents.
BOB
Jack, just remember one thing. If
all this comes down, you don't
know me. I'm not gonna burn for
you. And I'll tell you something
else. If it all comes down, your
ass is new-mown grass.
CATES
Right. Hey, no sweat.
He hands over the papers. Smiles.
BOB
BOB You got him for 48 hours.
Bob studies the sheet.
BOB
(continuing)
You got a big career as a forger
if you decide to go that way,
Jack... I'll ring security.
TRANSITION.
PROCESS ROOM - PRISON - DAY
The GUARD leads Hammond to a steel cage. Harmnond's now
wearing a beautifully tailored plaid suit.
The Guard shouts to ANOTHER GUARD on the far side.
GUARD
Prisoner G21355 ... Hammond.
SECOND GUARD
Okay. Send him through.
The gate slides open. The Guard geztures for Hairmond to
enter. Hammond walks to the far side of the pen. The first
gate closes, the second one opens.
Hammond turns and walks over to Cates. The Guard comes up to
Cates, double checks his orders then unlocks Hammond's cuffs.
GUARD
Gotta sign for him.
CATES
Sure thing...
He looks over at Hammond who smiles at him. Then looks at
Harmond's clothes...
CATES
(continuing)
This prison gives out $400 suits?
HAMMOND
What are you talkin' about? This
suit's mine. It cost $900.
Hammond dusts off a sleeve.
CATES
We're supposed to be after a
killer, not a string of hookers...
HAMMOND
Listen, it may be a little out of
date. You know, I got a reputation
for lookingreal sharp with the
ladies...
Cates hands some papers to the Guard.
GUARD
He's all yours.
The Guard walks away as Hammond feels Cates' lapel.
HAMMOND
We could change this for something
good...Get you lookin' sharp for
pussy.
Cates gives him a look.
CATES
I don't need to hear your jive. I
already got that department taken
care of...
HAMMOND
You got a girl... shit... the
generosityof women never ceases to
amaze me.
Cates slaps a cuff on Hammond's outstrethand, then puts the
other on his own wrist.
HAMMOND
(continuing)
Hey, no way. Take off the
bracelets or no deal.
CATES
You just don't get it, do your
Reggie? There isn't any deal. I
own your ass.
HAMMOND
No way to start a partnership.
CATES
Get this. We ain't partners. We
ain't brothers. We ain't friends.
I'm puttin' you down and keepin'
you down until Ganz is locked up
or dead. And if Ganz gets away,
you're gonna be sorry we ever met.
HAMMOND
Shit. I'm already sorry.
Cates yanks on the cuffs. They move away.
?
TRANSITION.
OUTSIDE THE JAIL - DAY
CATES LEADS HAMMOND OUT. THEY HEAD FOR CATES' BATTERED
CADILLAC.
HAMMOND
This your car, man?
CATES
Yeah.
HAMMOND
It looks like you bought it off
one of the brothers.
As they approach the car...
CATES
Okay, let's get down to it. I did
my part and got you out. So now
you tell me where we're goin'?
HAMMOND
Don't worry, I got a move for ya.
An awesome move. A guy named
Luther. Ganz'll be paying him a
visit. We go to him right away.
CATES
Luther was part of the gang?
HAMMOND
What gang you talkin' about, Jack?
CATES
I can read a police file,
shithead, and quit calling me Jack.
HAMMOND
Just an expression man, don't mean
nothin'.
Cates gets behind the wheel and kicks the engine over.
CATES
I don't give a damn. It happens
to be my name.
HAMMOND
Then what're you complainin'
about? At least nobody's calling
you shithead....
CATES
I may call you worse than that.
Cates drives off.
EXT. STREET - MISSION DISTRICT - DAY
Cates' Cadillac purrs into view, entering a deserted street
within a rundown neighborhood.
INT. CADDY
Hammond seated next to Cates.
HAMMOND
Just up the street, the other
side, over there ... Now, don't
bother knockin' on the door.
Luther ain't the kind of guy that
looks for company.
CATES
Your pal nuts enough to take a
shot at me?
HAMMOND
Luther ain't the reliable type. I
don't want you shot yet, Cates ...
not before you been a help to me.
CATES
I'm helpin' you, huh?
Hammond smiles.
HAMMOND
Yeah. Didn't you know that?
STREET
The Caddy pulls to a stop.
HAMMOND
Over there...232...
Cates double-checks his .38.
HAMMOND
(continuing)
You better let me borrow one of
those.
Cates smiles.
CATES
Sure thing, asshole.
Handcuffs Hammond to the door handle. Grabs the car keys.
CATES
(continuing)
You just hang on. And hope this
big move of yours turns out to be
something. Opens the car door.
CATES
(continuing)
LUTHER'S VICTORIAN
Cates knocks at the door. Nothing. Knocks again ... no
response.. From inside, he hears a faint noise but no
response to the knock. Holding the .38 in one hand, Cates
tries the knob with the other. The door opens. Cautiously,
Cates steps inside.
INT. LUTHER'S VICTORIAN
Long corridor ahead. No sign of Luther.
CATES
Moves down the corriaor, checks the rooms off to one sides.
LUTHER LUTHER
slips into the hallway behind Cates... Cates turns just as he
gets to the kitchen. Luther holds a gun. Cates drops to a
crouch and aims the .38. Luther whirls and fires at Cates. As
wood and plaster fly out all round him, Cates makes a running
dive for the floor. Luther runs out before Cates has
regainehis feet.
STREET
Luther rushes out the front door and heads toward the
Cadillac.
HAMMOND
Watches as Luther heads down the sidewaltoward him. As he
starts to pass by... Hammond steps out suddenly... Flattens
him with the car door. Luther drops, stunned. Hammond, still
restricted by being cuffed to the door handle, reaches and
grabs his pistol.
CATES
Hammond, Drop the Goddamn gun.
Hammond looks up. He sprints across the pavement. Aims his
gun at Hammond.
HAMMOND
Quit playin' cop and undo this
cuff, Jack, I need to talk to this
man.
CATES
I'm tellin' you to drop the Goddam
gun.
HAMMOND
I got a whole thing about people
pointin' guns at me.
CATES
Just throw me the Goddamn gun.
Long moment. Then Hammond smiles and tosses him Luther's
pistol. Luther groans. Cates puts his foot on Luther's belly
and pulls himself into a standing position, cuffs him.
HAMMOND
Luther, I always told you the
physical side of life wasn't your
gig. Look at you, all messed
up... Course you never were much
in the snappy dresser department,
were you?
Cates now has Luther ready to be questioned.
CATES
Come on, talk to him.
Hammond turns to smile at Luther.
HAMMOND
What's happening, Luther?
LUTHER
I thought you were inside...
HAMMOND
Meet my travel Agent.
Luther leans forward, looks straight at Cates.
LUTHER
A cop...
CATES
I sure ain't his fairy
godmother... now I'm looking for
Ganz...where is he?
LUTHER
Haven't seen him for years. That's
the truth.
CATES
You just took a shot at me,
asshole. I think you do know where
he is.
LUTHER
Who gives a fuck what you think?
Cates grabs the still open Cadillac door, slams it into
Luther. He falls backwards. Cates looks at Hammond.
CATES
Hey, this works pretty good.
HAMMOND
Thank you.
CATES
Want to try it again?
Luther sits up again, glares at Cates.
LUTHER
Ganz and Billy got my girl,
Rosalie.
CATES
I think I met her. Now tell us
something we don't know, like
where they stashed her.
LUTHER
I don't know.
Cates slams the car door agains him again.
HAMMOND
I gotta tell you he's having a
ball with this car door, Luther...
You'd better think of somethin' to
tell him.
Luther besitates...flashes a look at Hammond, who sends him
a silent fleeting reply. Maybe Cates sees this. Maybe not.
LUTHER
He ... he wants me to help him
skip town.
CATES
When? How?
LUTHER
I dunno ... he's gonna call me...
Another look at Hammond.
LUTHER
(continuing)
He's gonna call me on...Tuesday.
Something's wrong with all this. Cates isn't sure just what.
Not yet. He looks at Hammond.
CATES
What do you think?
HAMMOND
I think you better put him on ice,
man.
CATES
He's gotta take that call ... if
there is one.
HAMMOND
If you let him run around till
Tuesday, he's gonna run right to
Ganz and warn him. Ain't you,
motherfucker?
Luther makes a play toward Hammond, who laughs, doesn't even
flinch.
HAMMOND
(continuing)
Luther, are you angry with me?
Cates wrestles Luther into the back seat, turns to Hammond.
CATES
I don't know what the hell you're
smiling about, watermelon. Your
big move turned out to be shit.
HAMMOND Just stares at Cates, keeps smiling...
TRANSITION.
BOOKING - POLICE PRECINCT - NIGHT
Two Uniforms follow a sullen Luther, Cates and Hammond to the
DUTY SERGEANT... Cates speaks to him through the small
window.
CATES
Assault on a police officer with
a deadly weapon. Carrying a
concealed weapon. Resisting
arrest, Disturbing the peace.
Public nuisance...
The Sergeant begins typing out an arrest form.
CATES
(continuing)
I'll think up a few more and file
the report tomorrow.
Cates looks back at Hammond as Luther is hauled away.
CATES
(continuing)
Come on, I gotta make a phone call.
As they move through the honeycomb of office partitions.
CATES
(continuing)
You stay with me.
Cates picks up the phone on the other side of the booking
desk. Dials ... waits for a response as TWO HOOKERS are led
past by an Arresting Officer. Hammond gives them the eye.
CATES
(continuing)
This is Jack Cates. Any messages?
ELAINE'S APARTMENT
Elaine is on the kitchen phone, speakingwhite putting her
coat on over her uniform for the evening. One look at the
way it is cut and you know why she hates her job.
ELAINE
Just one. Some lady called. Said
she's a little hot-headed
sometimes... But she still wants
her occasional roommate. She'd
like to talk it over after she
gets off work tonight... if it's
humanly possible....
CATES
Elaine, look, I'm in the middle of
sone stuff right now... I'm not
gonna have time to come by. I
don't know when I can get there.
Her face falls. Making the offer was hard enough.
ELAINE
Come on, Jack ... you're making me
work too Goddamn hard at this...
Jack is very irritated by this turn of events.
CATES
Listen, Goddamn it if you think
I'm happy about it, you're nuts.
I just gotta take care of a few
things, okay?
ELAINE
This is not the way people who
care for each other are supposed
to behave.
Cates says nothing. She hangs up angrily.
BOOKING
Hammond is working on the girls.
HAMMOND
Excuse me, ladies, you seem to be
in need of assistance.
HOOKER TWO
Look, we got enough problems, we
don't need no tight-ass court-
appointed lawyer trying to
bullshit us!
HAMMOND
Sweetheart, I'm not trying to
bullshit you. I don't know whether
or not you ladies heard but the
city is coming down real hard on
people practicing unlawful carnal
knowledge.
HOOKER ONE
So what are you trying to say,
fella?
HAMMOND
I'm trying to say that you're not
just walk in that courtroom and
get gonna slapped with a $50 fine
and be back on the street turning
tricks tonight. You both are going
to do some time. About 30 days
each... Unless, of course,we talk
real business.
HOOKER TWO
So where do you want to do it,
honey? You wanna hop up on the
counter?
HAMMOND
No, we can go to the back room.
Cates walks over and pulls him by the shoulder.
CATES
We're on the move. Let's go. As
they walk toward a corridor.
HAMMOND
Do you know how close I was to
getting some trim. And you
fucked' it up.
CATES
Yeah, well, my ass bleeds for you.
And I didn't get you out so you
could go on a Goddamn "trim"
hunt... stop moaning.
HAMMOND
Speakin' of moans my Stomach is
startin' to growl.
CATES
We eat when I say we eat.
HAMMOND
Bullshit ... I ain't moving till
I get something to eat. You've
been treating me like shit ever
since I came out here. If you
don't like it, you can take me
back to the penitentiary and kiss
my hungry black ass good-bye. And
I want some food some place nice..
Some good people, nice music...
CATES
Yeah, I'm hungry too. I know of a
place. Let's go eat.
HAMMOND
Yeah, I want mandolins, flowers...
They move off down the corridor.
TRANSITION.
UNDERGROUND PARKING LOT - NIGHT
INT. POLICE HEADQUARTERS
Cates and Hammond at a candy machine. Cates drops in a
quarter, throws Hammond a candy bar...
CATES
There's your God-damn dinner. Now,
let's go.
They move toward a row of parked cars.
AT THE CADDY
HAMMOND
Who'd you call on the phone back
at the booking station?
CATES
Just get in the car and keep your
mouth shut.
Hammond gets in the car as Cates readjusts Elaine's scarf on
the mirror.
HAMMOND
Must of been your lady friend...
Cates frowns at him.
HAMMOND
(continuing)
You really do have onoe, huh,
Jack... what's her problem besides
you?
CATES
She's got the same complaint as
half the Goddamn population. She
can't get the job she's trained
for and it pisses her off...
Anyway, what the fuck do you care?
Cates climbs in behind the wheel of the Cadillac.
HAMMOND
No, man, tell me about her. In
jail they got me surrounded by
guys wearin' blue suits twenty-
four hours a day. And I ain't
built for that. Really? With the
clothes you got on you look like
you'd love it.
Cates takes a belt from his flask.
CATES
Now, where we goin', convict?
HAMMOND
Mission District. Gonna find us
an Indian.
Cates starts the motor, slams it into gear. Accelerates out
to the street.
TRANSITION.
EXT. CITY STREET NIGHT
Cates and Hammon booming along in the Caddy.
HAMMOND
Come on, Jack. I want to hear
about your girl. When were you
with her last ... You get what I
mean?
Smiles. Cates smiles back at him, almost cruelly
CATES
I don't give out the details.
HAMMOND
Last night, two nights ago, three?
Cates keeps smiling.
CATES
Last night.
HAMMOND
You have a good time?
Pained expression on Cates' face as he comes back to reality.
CATES
Sure. Then we had a fight this
morning.
HAMMOND
At least you took care of business
and got the important part in
before she came down on you...Tell
me a little about her. She got
great tits?
Cates gives him a hard look.
CATES
I get the feeling it's going to be
real long night.
They keep driving.
TRANSITION.
MISSION DISTRICT - STREET - NIGHT
The Cadillac drives slowly past a bar called Torchie's.
Stops at the end of the block.
CATES
Well?
HAMMOND
It's a long shot, but...Billy used
to tend bar here a few years back.
I heard him talk about it.
CATES
This part of town, they'll make us
for heat the second we walk in.
Just back me up like you've got a
piece...
HAMMOND
Back you up? Now why would I
wanna do that?
CATES
If they kick my ass, they'll sure
as hell carve yours up...
HAMMOND
But you can handle it all right,
huh? Real amazin' how far a gun
and a badge can carry some cats...
CATES
Bullshit. Attitude and experience
get you through...
Cates and Hammond step out, glance toward the bar.
HAMMOND
I been in a lot of bars where a
white cop rousted me and some of
the brothers. All those clowns
ever had going for 'em was a gun
and a badge...
CATES
You need five years training to
handle a joint like...
Hamnond's had enough of this debate.
HAMMOND
Hey, you wanna bet?
CATES
I got two problems. Number one,
I'm not playin' games. Number
two, you got nothin' to bet with.
HAMMOND
If we come outta this joint with
Ganz' phone number, or a dead
Indian, or anything else useful,
then you could turn the other way
for half an hour while I get
laid...
CATES
Why? Anybody that talks about
women as much as you do probably
can't get it up anyway.
HAMMOND
That's never been one of my
problems.
Now, stop stallin', man, or else
admit all this professional stuff
you're talkin' about is a crock of
shit.
CATES
I'll tell you what happens if you
lose... you tell the truth for
once.
HAMMOND
What are you talkin' about?
CATES
You tell me what Ganz busted out
for, he's after a lot more than
just gettin' out of jail. And
whatever it is, you're part of it.
HAMMOND
I don't know what you're talking
about. I just wanna see Ganz
nailed.
CATES
The bet's off.
Hammond thinks it over..
HAMMOND
Okay, if I lose, I'll tell you
anything you want to know...
Cates reaches into his pocket.
CATES
I'm gonna enjoy this ... here,
I'll even loan you my badge.
HAMMOND
I thought you said bullshit and
experience are all it takes.
He takes the badge anyway as they head for the entrance.
TORCHIE'S WESTERN BAR
They step inside. Hammond reacts to...
REDNECK CITY
Longhorns mounted over the bar, Rebel Flags, Lone Star Beer,
armadillo posters. Even the waitresses wear Stetsons.
Rockabilly pounding from the jukebox. A Cowgirl Stripper is
doing the grind on a small podium.
HAMMOND
This place don't seem real popular
with the brothers.
CATES
My kind of place. I always liked
country boys.
Cates smiles, finds a table in the corner. A Cowgirl comes
over to take his order.
HAMMOND
Takes a deep breath, moves toward the bar. Smiles at the good
ol' boys. They don't smile back. He sits down at the bar.
BARTENDER
Yeah.
HAMMOND
Vodka.
BARTENDER
Maybe you better have a Black
Russian.
HAMMOND
No, man, I think I'll have a vodka.
Hamnond looks around the room.
THE BARTENDER
places a glass in front of him, picks up the dollar as
Harmond flashes Cates' shield.
HAMMOND
You know a big Indian named Billy
Bear? He used to work here.
The Bartender shakes his head, gives him a scowl.
BARTENDER
Never heard of him.
Hammond lifts the shot glass and throws it through the mirror
behind the bar. Sudden silence throughout the room.
HAMMOND
Now how's your memory doin'?
BARTENDER
Fuck off. I don't know what the
hell you're talkin' about.
HAMMOND
Maybe I better ask around, see
what your pals think.
BARTENDER
I don't give a shit who you ask.
The Bartender walks down toward Cates.
HAMMOND
Moves away from the bar. He stops at a booth occupied by
FOUR COWBOY PUNKS,
one a very big man. Hammond grabs him by the arm and pulls
him up.
HAMMOND
Up against the wall, cowboy.
The Punk breaks free, aims a massive haymaker at Hammond.
Gets a right to the stomach for his trouble.
HAMMOND
(continuing)
Now, I said get over there by that
wall ... You hear me,
motherfucker...
Looks at the others.
HAMMOND
(continuing)
Move it, rednecks. On your feet...
He grabs the next by the arm, yanks him up.
HAMMOND
(continuing)
Over there...move your ass. Some
of you rednecks seem a little hard
of hearing, so I'll repeat it for
everybody... I need word on the
whereabouts of an Indian that goes
by the name of Billy Bear. It's a
police matter and you all look
like you'd just love to
cooperate...
CATES Quietly sips his beer. The other occupants of the bar
watch Hammond herd the four Punks to the end wall.
A BIG COWBOY
when Hammond isn't looking, he dashes toward the exit, Cates
puts out a leg. Sends the Cowboy crashing into a crowdedtable.
HAMMOND
Turns around at the noise.
HAMMOND
(continuing)
That wasn't necessary, buddy. I
got this under control.
CATES
Some of us citizens are with you
all the way, Officer.
The Redneck Punks are now spread-eagled against the wall.
Hammond searches the first. He drops a wallet on the floor
and moves to the second. A switchblade, some credit cards and
another wallet fall to the floor. The last Punk has only a
roll of bills. Hammond holds the money up to his face.
HAMMOND
You're in trouble, big trouble, so
you better start talking. Where'd
a boy like you make a score like
this?
PUNK
It's mine, what the hell...
HAMMOND
You must a rolled somebody. They
don't let punks like you take jobs
that pay this much ... you sure
you don't know a dangerous Indian,
because unless you start talkin'
I may just have to start looking
down your pants with a
flashlight...
PUNK
What kind of cop are you, anyway?
HAMMOND
I am your most terrible nightmare
... a bad nigger with a badge that
entitles him to kick your ass...
Hammond turns to the Bartender...
HAMMOND
(continuing)
One of them is under-age. Another
attacked a police officer. And you
know I ain't found what I came
lookin' here for yet...
Walks back to the Bartender.
HAMMOND
(continuing)
The tall one had a weapon ... you
want me to keep on makin' a list,
or you got the picture yet?
He reaches for a towel under a pyramid of bar glasses. Jerks
the towel, the pyramid capsizes onto the floor. Huge crash as
the glasses break into a million fragments.
HAMMOND
(continuing)
Looks like you're on your way to
bein' outta business, redneck...
Now, let's see what can we fuck
with next?
The Bartender doesn't have the look of a happy man.
BARTENDER
Okay, okay. The Indian hangs out
with a girl down the block. Right
where Chinatown starts. She lives
on top of the hardware store.
Hammond turns, grins at Cates. As far as he's concerned, he's
won the bet. Cates nods, slips out the door.
HAMMOND
I don't give a damn about his
girl...
BARTENDER
Look, give me a break, you're
going to have to settle for her
place. It's the only thing I know.
He looks desperate.
BARTENDER
(continuing)
I'm tellin' ya, I'm giving you all
I know.
HAMMOND
Try obeyin' the law once in
awhile, and I won't have to hassle
you...
Turns to go, then turns back.
HAMMOND
(continuing)
But remember this, cowboy, there's
a new sheriff in town.
Smiles, turns and goes.
TRANSITION.
STREET - ACROSS FROM TORCHIE'S - NIGHT
Hammond steps out of the bar. He crosses to Cates by the car.
CATES
I think you got something for me.
Pause.
CATES
(continuing)
The gun you took off that redneck
in there.
Hammond smiles.
HAMMOND
You made that move, huh?
CATES
While you're at it, You can give
me the switchblade, too.
Hammond reluctantly takes out a .22 automatic, slams it down
on the hood of the car.
CATES
(continuing)
Credit cards?
Hammond hands them over with the knife.
HAMMOND
You already got a gun and you owe
me a piece of ass. I'll settle
for the gun you just took.
A long moment. Then Cates slowly lifts the .22 automatic.
CATES
You did a real good job... Guess
you deserve a reward.
Removes the clip. Throws it across the street. Hands Hammond
the automatic.
HAMMOND
Motherfucker.
He throws the gun away.
CATES
I sure am. Now let's go get us an
Indian.
They walk up the block.
TRANSITION.
STREET - CHINATOWN - NIGHT
Neon signs with Sino lettering.
CATES AND HAMMOND
Walk down the street, spot a shop with a window display of
tools. Look up at the darkened apartment windows. They walk
to the end of the block.
ALLEY
Stairwells lead to each apartment above the shops. Cates and
Hammond move along the buildings... Arrive at the back of the
hardware store. Quietly, they start to ascend the stairs.
STAIRWELL
The metal steps extend onto a platform by the back door.
Cates leans over the railings to look through the adjacent
window. Between the drawn curtains, a flickering glimmer from
a TV set. On the tube, various poses from stridently
exercising women.
HAMMOND
What the shit is that?
Looks again. A female form passes by, goes out of the room.
CATES
There.
HAMMOND
Must be billy's girl.
CATES
Come on.
DOORWAY
Cates gestures to the door lock. Hammond fiddles with it for
several moments. The door swings open. They step into a
darkened room.
APARTMENT
Cates takes the .38 from his pocket. He stops near the open
bedroom doorway. He looks at Hammond and then both men step
quickly into the room.
CATES
Police! Nobody move!
Hammond reaches for the light switch. Takes a heavy blow.
Slumps against the door. A Woman's voice screams out.
CATES
(continuing)
Stay where you are!
The light goes on. Cates' gun points at a YOUNG WOMAN (CASEY)
in a flimsy dressing gown. Saturday Night Special held
between her palms, police style... A SECOND WOMAN (SALLY)
stands beside Hammond at the light switch. Larger and
slightly older than the first, she wears a man's shirt. Holds
a baseball bat in her right hand.
SALLY
You better drop it or he's gonna
get another one.
HAMMOND
Hey, talk to here jack. I don't
feel like gettin' number two along
side of the head.
CATES
I said police. Now drop the
goddamn gun.
CASEY
Don't give me that police shit.
You drop it.
Pause.
CATES
Okay, look, don't shoot. I'm just
reachin' for my badge.
Cates takes out his badge-Shows it to Casey.
CASEY
I don't like this bullshit. I've
seen fake badges before.
HAMMOND
I'll tell you something lady, this
guy is a real nervous cop - He's
just liable to pull the trigger.
Cates takes two steps toward Casey...
CATES
Naw, I'm the calm type. I know
you don't want me to shoot you,
and I know that you don't want to
shoot me.
He takes two more steps toward her.
CATES
(continuing)
Shooting a cop puts you away for
a long time.
Holds out his hand.
CASEY
You assholes better be real.
She hands Cates the gun. Sally prods Hammond with the
baseball bat.
SALLY
Just wait a Goddamn second here,
let's see your badge...
He snatches the bat out of her hands.
HAMMOND
Don't have one.
SALLY
I knew it. Call the cops.
Casey walks over to the phone.
CATES
Tell them it's Cates, Detective
31st District. Then put your
clothes on. If you don't answer
some questions I'm taking both
your asses in.
After a moment, Casey puts down the phone.
CATES
(continuing)
Now, let's cut out the crap, which
one of you sees Billy Bear?
SALLY
None of your business, cop. The
son of a bitch isn't here, and he
isn't coming back.
CATES
You can do better than that.
Turns to Casey.
CATES
(continuing)
How about it?
CASEY
I used to go with him...I don't
know where the hell he is. I
haven't seen him for two weeks.
And I don't think I will. He owes
me money...
SALLY
He's a Goddamn lowlife, the way he
treated her.
CATES
Sounds like a real stormy romance.
CASEY
I don't much care what it sounds
like to you, Cop. All I know is
that I went a few laps around the
track with him and I ended up with
nothin' but the short end of the
stick.
Cates looks over at Hammond.
CATES
Let's go.
HAMMOND
Wait a minute. Maybe these ladies
would like to go a few laps with
us. How about it? I been nearly
three years in prison and...
SALLY
Fuck off.
CATES
Come on...
Hannond starts for the door with Cates.
CASEY
If you find that bastard, Billy,
tell him to stay out of my life.
I don't need any more of his macho
bullshit.
TRANSITION.
STREET CHINATOWN - NIGHT
The two men walk among the bright neon lights. Neither of
them very happy.
CATES
This sucks. A maniac gets hold of
my gun and goes all over the
streets killing people with it.
So, instead of me being where I
oughta be, which is in bed giving
my girl the high, hard one, I'm
out here doing this shit, roaming
around with some overdressed,
charcoal-colored loser like you.
HAMMOND
You wanna leave, man? Let me take
care of Ganz all by myself.
CATES
You? Don't make me laugh. You
can't take care of shit. You've
been dicking me around since we
started on this turd-hunt. All
you're good for is games... So
far, what I got outta you is
nothin'...
HAMMOND
I'm impressed with you too, Jack
you did a real good job of busting
up a couple of dykes bedded down
for the night.
CATES
Luther knew more than he told me
and so do you...Now you better
tell we what the fuck this is all
about. I gave you 48 hours to
come up with something and the
clock's runnin' ...
A long look at Hammond.
HAMMOND
Maybe I don't like the way you ask.
CATES
Who gives a Goddamn what you
think? You're just a crook that's
got a weekendpass ... You're not
even a name anymore. Just a spear-
chucker with a Goddamn number
stenciled on the back of his
prison fatigues...
They walk past.
TRANSITION.
STREET ACROSS FROM TORCHIE'S - NIGHT
They two men walk toward the Cadillac.
CATES
Okay, Reggie, I'm done playing
around. I want to know what's
going on and I'm going to beat the
living shit out of you until you
tell me.
Hammond goes into a street rap.
HAMMOND
You beat the shit out of me?
Don't make me laugh, sucker. You
don't know how I'd dance on your
face? I'll hit you so hard, so
many times, you'll wish you'd
never been hatched. I'll turn
your face into cottage cheese.
I'll make your girl think you been
takin' ugly pills. She won't even
know who you are, sucker.
They stop by the car. Cates takes the gun out, lays it on the
hood. Hammond stares at him. Cates next takes out his
wallet, shows Hammond his badge, then lays the badge on the
car fender... Smiles.
CATES
I guess the first thing I ought,
to explain to you, nigger, is I
fight dirty.
Hits Hammond a tremendous right hand full in the face.
Hammond sags, grabs onto the car fender for support. Cates
hesitates ... and Hammond kicks out, sending the partially
open car door slamming into Cates. Cates sprawls.
HAMMOND
So do I.
Hammond aims a kick at Cates' head. Cates blocks it with
crossed forearms, grabs, twists. Hammond tumbles, rolls away
from Cates. Both men struggle to their feet, circle each
other.
Hammond moves in only to receive twoquick blows from Cates,
a bit sooner than he expected. Cates smiles.
Hammond dances in and out... Cates' breathing becomes more
labored. His windmill attack penetrates Cates' defense. Cates
clears his head, charges, bull-like ... His rush and greater
bulk send both of them crashing into some trash cans and a
brick wall.
Hammond is faster...
Cates is much stronger; Both men on their knees. They look at
one another. Silently, they move to their feet. Hammond's
back is to a wall... Cates keeps him there, negates the
lighter man's agility. They slug away, each now arm-weary...
Exchange a dozen blows. Finally, Cates steps back, arms at
his side... Breath coming like a bellows...
Hammond has to hold on to the wall; one more punch would put
him out.
CATES
Now, you bastard, you going to
tell me what's going on...
Puffing away.
CATES
(continuing)
... Do I have to kick the shit out
of you some more.
They stand facing one another. Hammond smiles. A black-and-
white comes roaring up the street. Sirens howling, red lights
flashing, it slides to a stop. TWO UNIFORMED COPS jump out,
guns drawn.
FIRST COP
All right, you two. Don't move.
CATES
NO, no...it's okay...I'm police.
SECOND COP
Yeah, sure. Get your hands above
your head.
He keeps his gun trained on Cates,and Hammond.
CATES
My gun and badge are over there.
And I'm too fucking tired to raise
my hands...
Hammond rubs the side of his face. Cates falls back against
the patrol car. Still fighting for breath. The First Cop
lifts Cates' wallet off the Cadillac and looks at his badge,
shows it to the other cop.
FIRST COP
What the hell's going on here?
Cates walks over, pockets his gun.
SECOND COP
I've got a burglary call. Two
women say a couple of hoods broke
into their place posing as cops.
CATES
I was following a lead. We
rousted them... Go up and sweet
talk 'em. You can straighten it
out.
The First Cop checks out Cates' badge and I.D.
FIRST COP
Why don't you do it? We got
better things to do than
straighten out your messes.
CATES
So do I. I'll file a report
tomorrow.
The First Cop takes out his book, starts writing. He's
pissed.
FIRST COP
I gotta file a..Report tonight
asshole...
CATES
Goes with the territory.
He grabs Hammond and they head for the Cadillac.
TRANSITION.
ALL-NIGHT GAS STATION
Cadillac parked behind the service area.
RESTROOM
Hammond looks' up at his bruised face in the mirror, then
washes up. Cates is one step ahead of him. He rolls up a
piece of the wet towel and inserts it over his bleeding gum.
HAMMOND
Too bad we got interrupted when we
did. I was getting ready to
finish you off.
Cates straightens up from the wash basin.
CATES
Yeah, right. You want to try
again?
HAMMOND
Naw, you'd just call your pals
back to bail you out one more time.
CATES
They saved your ass, convict.
HAMMOND
One thing's for sure, Jack.
That's how you'll tell the story.
Cates dries off his face, starts out of the washroom.
CATES
I'll even put it in my report that
way.
The door closes behind Cates. Hammond leans back toward the
mirror, nudges a tooth with his finger.
HAMMOND
Motherfucker.
GAS STATION PARKING LOT
Cates leans on the Cadillac as Hammond emerges. Hammond
starts for the passenger side.
CATES
Wait a minute.
Hammond stops.
CATES
(continuing)
You come clean or we're going to
go again. Right here, right now.
Pause.
A long moment; Hammond decides be has no choice.
HAMMOND
I been waiting a long time for
some money.
CATES
How much?
HAMMOND
Half a million.
CATES
Jesus.
Hammond smiles his meanest smile.
HAMMOND
How's that for a number to give
you heart failure? Guess you might
start to get the picture after
all. Mlaybe you're on the wrong
side of the old law and order
business..
Cates is unmoved.
CATES
Just tell me about the money.
HAMMOND
Me and my bunch hit a dealer in
the middle of a sale. It's the
kind of money nobody ever reports
stolen. I was sittin' pretty,
livin' in the high cotton, then
somebody fingered me for another
job. ... Some psycho who's out
there capping people with some
cop's gun.
CATES
He's after your money.
HAMMOND
You catch on real fast...Okay,
Jack, let's talk deal. How much of
my money you gonna let me keep?
Cates just looks at him.
HAMMOND
(continuing)
We split 50-50?
CATES
Not likely, convict.
HAMMOND
You gonna let me keep any of it?
CATES
Depends on how things work out. I
believe in the merit system. So
far you haven't built up any
points.
He smiles.
HAMMOND
Okay, from now on, I'm gonna be
real good, Jack.
Cates smiles back.
CATES
Where's the money?
HAMMOND
In the trunk of a car. A lot
better than under a mattress,
right?
Cates smiles.
CATES
Right, partner.
HAMMOND
Get this. We ain't partners. We
ain't brothers. We ain't friends.
If Ganz gets away with my money,
you're gonna be sorry we ever met.
CATES
Yeah. Right.
They get into the Caddy. Boom away.
TRANSITION.
The Cadillac moving through the city... Clock on the
dashboard showing 4 a.m. Cates at the wheel.
CATES
(continuing)
Where's the goddamn car?
HAMMOND
You're a real case, you know that,
Jack?
Smiles.
HAMMOND
(continuing)
This'll show you how smart I am.
I got it parked.
CATES
...For three years? Let's hope it
wasn't a tow-away zone.
HAMMOND
You just drove by it.
The Cadillac makes a screeching U-turn,i swings into the curb.
Cates leans out, looks at...
PARKING BUILDING
Narrow, multi-storied, with a garage-like opening and
signals... proclaiming 'Weekly-Monthly-Long Term."
CADILLAC
CATES
Okay, now what?
Hammond gets out of the car.
Stands on the sidewalk.
Stretches.
Then gets into the back seats.
HAMMOND
Since you're wired on benniest you
get to stay up and stare at the
building. I'm tired, so I'm going
to sleep. They take Sunday off.
Place opens at seven o'clock
Monday morning. Wake me up at a
quarter till...
Cates stares at the place.
CATES
You son of a bitch. You knew where
the money was all along and all we
had to do was come here and wait.
I almost got my ass blown off
twice tonight for nothing.
HAMMOND
I wasn't sure the money was still
there until we saw Luther. You
almost got your ass shot off for
nothing once, not twice, Jack.
CATES
Shit.
THE CITY
Beyond the skyline, grey streaks of dawn etch the sky.
TRANSITION.
The Cadillac is pulled up facing the streets down the block
from the parking sections Cates walks in through the lot
entrance. Threads his way between the lines of parked
vehicles Tired and haggard, he carries a paper bag filled
with quick-order food.
CADILLAC
Hammond stretches on the back seat. Cates slams the door
shut.
CATES
I don't want you sleeping on the
job.
Hammond yawns, eases himself into a sitting position.
HAMMOND
The place opens in five minutes.
Ganz ought to be here soon...
Cates tears the paper bag open. Passes a cup of coffee and
donut back. He sips his own coffee, adds some whiskey from
his flask... pops another bennie.
CATES
You took a big chance, leaving
this here all this time.
HAMMOND
Not really. I figured Ganz was
put down for a long time. And I
knew Luther would never job me on
his own. He's too chickenshit.
CATES
Guess what? Luther just got in
line.
Hammond sits up.
HAMMOND
What?
CATES
Musta got some primo bondsman.
HAMMOND
Jesus Christ. That's a disgrace
The guy pulls a gun on a cop and
he's out in 24 hours. I tell you
some of the courts these days are
just a fucking revolving door.
INT. PARKING LOT BUILDING
Luther walks up to the window where a bored ATTENDANT reads
a comic book.
ATTENDANT
Yeah?
LUTHER
I want to pick up my car.
He passes across a faded form.
ATTENDANT
Name?
LUTHER
Hammond.
The Attendant examines the form, surprised.
ATTENDANT
This is three years old.
LUTHER
Yeah, I've been busy.
The Attendant opens a key file, begins rummaging in it.
ATTENDANT
We don't wash 'em, ya know.
LUTHER
How about chargin' the battery?
ATTENDANT
That we do. And we put air in the
tires. I'll even sell you some gas
if you need it.
LUTHER
Great, just great.
The Attendant finds the key, exits the booth. Luther follows
to an elevated stack of cars. The Attendant throws a switch,
the stack of cars begins to move.
STREET
Luther drives down the exit ramp in a dated Porsche
convertible.
The car is covered with a uniform coat of dust, except for
the windshield which has been wiped hastily clean.
Luther waits for a break in the flow of traffic, drives out.
Another street
Luther turns onto a side street and then suddenly Cate's
Cadillac appears ... starts to tail the Porsche.
CADILLAC
Cates follows Luther through several turns.
The Porsche jerks whenever it speeds up or slows down.
HAMMOND
Jesus Christ, look at all the dust
on my car...why in the hell don't
he take it to a car wash?
CATES
Didn't know you darker people went
in for foreign jobs.
HAMMOND
I had no choice. Some white
asshole bought the last piece of
shit skyblue Cadillac.
ANOTHER STREET
The Caddy follows the Porsche.
INT. CADDY
As they follow Luther.
CATES
You'd think the guy'd be smart
enough to know he was being tailed.
HAMMOND
Tryin' to save his girl, man. He's
in another world.
CATES
If I was his size and had Ganz on
my ass, I'd just leave town.
HAMMOND
I'm tellin' you the man's in
love... he wants to be a hero for
his girl.
CATES
Oh, yeah, does bein' in love make
you stupid?
ANOTHER STREET
The Caddy follows the Porsche.
As they follow Luther.
CATES
I suppose you'd never be like
Luther and let a woman get to
you...
HAMMOND
I let women get to me. The quest
for pussy is the meaning of life
... I got my own personal
philosophy about 'em. Keep women
separate from guns, money and
business ... women are for
spending money. They got nothing
to do with helping you make it.
CATES
That ain't philosophy. That's
common sense.
ANOTHER STREET
The Caddy follows the Porsche.
INT. CADDY
As they follow Luther.
HAMMOND
Say, do you always work people
over like you did Luther?
CATES
If they don't tell me what I need
to know...
HAMMOND
Doesn't it get... Tiring?
CATES
I'm not in this 'cause it's fun.
I'm not into hitting guys 'cause
it makes me feel good either... I
do it 'cause it works-...
HAMMOND
You got a very depressing view of
life, man... you gotta smile once
in awhile...
ANOTHER STREET
The Caddy follows the Porsche.
INT. CADDY
As they follow Luther.
CATES
Maybe Luther hopes Ganz'll give
him a piece of your money...
HAMMOND
If he's hoping that then he's
dumber than I think he is, which
would be amazin', cause I already
think he's real dumb.
ANOTHER STREET
The Caddy follows the Porsche.
INT. CADDY
As they follow Luther.
HAMMOND
A long time agb Luther must of got
the shit beat out of him so bad it
just rattled his brain ... that
would account for him making so
many wrong moves in a row...
CATES
Yeah, it doesn't look like he's
gonna make it as a dangerous tough
guy...
ANOTHER STREET
The Caddy follows the Porsche.
INT. CADDY
As they follow Luther,
HAMMOND
You know, I'd be embarrassed if I
let my wheels go the way you've
done with this job.
CATES
What you don't understand is, I
don't give a damn about how this
thing looks.
HAMMOND
No class...
CATES
Class isn't somethin' you buy,
punk. Look at you, five hundred
dollar suit and you're still a
lowlife.
ANOTHER STREET
The Caddy follows the Porsche.
INT. CADDY
As they follow Luther.
HAMMOND
We're getting too close ... Cates,
what's the matter, you been takin'
dumb pills?
CATES
Yeah, most cops are pretty dumb...
But since you're the one that
landed in jail what's that make
you?
ANOTHER STREET
Luther pulls over to curb and parks.
CADILLAC
suddenly swings over several lanes of traffic and parks in
driveway of parking lot.
LUTHER - CATES & HAMMOND'S P.O.V.
He goes to the trunk. Rummages there ... picks up a flaming
red suit.
INT. CADILLAC
CATES
That Goddamn suit is yours?
Hammond winces.
HAMMOND
That was in style a couple years
back, man.
CATES
Right. if you ever switch from
armed robbery to pimping, then
you're all set.
Under the suit is a nondescript attache case. Luther takes
it, closes the trunk. Beads down the sidewalk.
CADILLAC
HAMMOND
That's the money, Jack.
They jump out of the car, follow on foot.
STREET
Luther hurries along the sidewalk.
He reaches the corner, turns quickly...
CATES AND HAMMOND
Following a little way behind.
They pause at the corner, watching the pedestrian traffic
move by. Then turn down the cross street after Luther. Follow
him down a stairwell.
SUBWAY STATION - LOBBY
Escalators and open stairwells. Luther enters and pauses by
the doorway. Commuters crowd the counters and congregate near
the stairwells. More people are seated along hard plastic
seats. But no Ganz. And no Billy.
Luther moves further into the station. Cates and Hammond
enter. They keep Luther fixed between them, 50 feet ahead.
Luther seems to be wandering He walks through the shop area
and back toward the escalator. Hammond remains near the
arcade while Cates blends in with the commuters. Luther puts
the briefcase down at his feet and leans against a counter.
Next to him, a loud troop of Boy Scouts marches by. A crowd
of people from the train area below flows through the lobby
obscuring Luther from Hammond and Cates for a moment. Cates
steps out to get a better view and suddenly spots Ganz moving
through the crowd toward Luther. Be looks over at Hammond
across the station and motions. Then they both start moving
in on Ganz, trying to intercept him before he gets deeper
into the crowd.
Ganz moves cautiously through the station. A crumpled
newspaper held absently in his hand. He scans the faces of
the commuters and spots Luther. Fails to notice Cates and
Hammond closing in on him from two directions.
A PATROLMAN comes up. Starts chatting amiably with a Boy
Scout next to Luther. Ganz hesitates in his approach. He
motions Luther to move awaye, but Luther starts to panic when
he sees Cates and Hammond closing in...
Ganz reacts to Luther, turns and spots the two men. He makes
an immediate break for open ground. The Patrolman sees Ganz
start to run. The newspaper is thrown to the floor... Ganz
swings Cates' .44 toward Hammond.
PATROLMAN
Hey--you!
Ganz whirls, his feet slipping on the marble floor. His shot
at Hammond goes plowing into the ceiling. The crowd starts to
panic and run in all directions.
The Patrolman has al ready brought his own gun out. Levels it
at Ganz.
PATROLMAN
(continuing)
Put it down.
BILLY BEAR
Suddenly appears, Rosalie at his side. Billy Bear's .44
blasts the Patrolman onto his back.
Ganz comes up and scrambles through the screaming patrons.
He, Billy and Rosalie head toward the escalator. Cates has
already brought out his .38... Can't get a clean shot through
the chaos.
Hammond pushes his way through the crowd to Cates.
HAMMOND
Shoot the sons of bitches.
Cates can't risk it...
HAMMOND
(continuing)
You don't want to chance it, then
give me the gun...
A moment.
HAMMOND
(continuing)
Bullshit. Then i'm staying with
the money.
CATES
You stay with me...
HAMMOND
No way...
Hammond starts after Luther. Cates turns, starts to aim at
Hammond. Hesitates...
PASSENGER WALKWAY
Panic has overtaken everyone as they try to escape the madman
with the gun.
Ganz and Billy elbow and kick their way through the crowd,
tugging Rosalie along...
Cates, gun in hand, creates further-panic as he moves after
Ganz.
Ganz grabs a man beside him.
Shoves him hard into the passengers in back.
The man knocks over several more people creating a roadblock.
Ganz vaults over the railing and starts for the trains.
Cates loses a few more precious seconds grappling through the
terrorized passengers...
TRAIN AREA
The usually jammed area looks like an empty stockyard. The
patrons huddle in fear against any available wall.
Cates bursts out of the stairwell...
TUNNEL
Red and green signal lights. The light goes red, a train
roars up and the doors hiss open.
Billy and Ganz fight through the passengers getting off the
train, jump on board; Billy pulls Rosalie behind him.
CATES
Running for the doors...
Suddenly, a SECURITY OFFICER appears, riot gun in hand.
SECURITY OFFICER
Freeze!
CATES
No! No! There they are!
SECURITY OFFICER
Just put it down real slow.
The train doors close.
CATES
I'm a policeman, you asshole!
SECURITY OFFICER
Don't even try... now drop it
or - you're all done.
He means it, points the riot gun even closer... The train in
front of him moves away.
Cates carefully places the .38 on the pavement. Then raises
his hands in the air.
CATES
Shit.
TRAIN STATION - LOBBY
Witnesses stand in nervous little knots. Give versions of
what happened to notepad-toting patrolmen. Hospital
Attendants minister to various and sundry complaints.
Cates sits on a passenger bench, obviously dejected. A
voice comes echoing from behind.
HADEN
Cates.
Haden, silhouetted against the light from the street.
HADEN
(continuing)
What the bell happened?
CATES
I lost them, that's what happened.
HADEN
How did they get away?
CATES
They ran. As fast as they could.
Caught a train.
Haden watches the Morgue Personnel wheel out the body of the
Patrolman.
HADEN
Which one pulled the trigger?
CATES
The Indian. I was about 30 yards
away.
HADEN
You couldn't get to him?
Cates shrugs.
HADEN
(continuing)
What a screw-up.
CATES
Right. I screwed up. I fucked
up. I messed up. Anybody could
have done better, especially you.
I bet you're real good at hitting
targets through crowds.
Haden starts toward the street. Looks back at Cates.
HADEN
Don't duck the bullet Cates. Why
didn't you call in for backup
instead of makin' a grandstand
play?
CATES
I didn't have the time.
HADEN
Too bad, it would've covered your
ass. Now you're in the shit and
so's the department. In case you
haven't noticed, this wasn't our
finest hour... I told you everyone
was watchin' on this one. Maybe
you better start thinkin' about
writin' tickets off a three wheel
bike.
Cates looks at Haden for a moment...
Turns and walks away.
TRANSITION.
PREDMORE HOTEL - NIGHT
Hammond across the street from Predmore.
Standing in a phone booth talking into the receiver...
He turns and looks acain at the hotel...
Hangs up.
Walks into a nearby bar.
TRANSITION.
VROMAN'S ROCK CLUB
HAMMOND
Punk Dancers all over the floor.
A rock group blasting away...("NEW SHOES" - Vocal)
HAMMOND
At a back booth...
A MAN (SOSNA) approaches carrying a small suitcase.
HAMMOND
How you doing, man?
SOSNA
Not bad, not bad.
Puts the suitcase down on the table.
SOSNA
(continuing)
You want to go outside?
HAMMOND
Naw, right here's okay.
Dancers sliding and jerking in front of them.
SOSNA
You sure?
HAMMOND
I'm sure. Everybody here's
looking at everybody else's ass.
Sosna pops open the suitcase. Lid shielding the contents from
the patrons...
SOSNA
I got some real nice merchandise.
All of it's clean.
Suitcase arranged like q salesman's display case. Tightly
spaced rows of handguns mounted in their holsters.
HAMMOND
I like this one...
Pockets a revolver with a deft move.
HAMMOND
(continuing)
How about some ammo?
SOSNA
It's loaded... I got some shells
in here.
Opens another compartment. Hammond helps himself to two
boxes...
HAMMOND
How much?
SOSNA
This is clean shit. No serial
numbers and never been used...
HAMMOND
Don't mess with me. How much?
SOSNA
Five bills.
HAMMOND
Five. On credit.
SOSNA
This ain't a credit business.
You know that.
HAMMOND
Yeah, I know that, but this is me
and we're old friends. I haven't
got the money so what are you
gonna do about it?
SOSNA
Give it back.
HAMMOND
Try and take it.
A long moment.
SOSNA
Fuck you. You got no right for
this kind of play.
HAMMOND
I'll got your money to you. No
sweat.
Hammonds heads for the bar.
Stands next to a good-looking woman (RITA). Nods to the
barkeep.
HAMMOND
(continuing)
Vodka. With a twist. And I want to
run a tab.
Served up. He knocks half of it back, turns to the woman.
HAMMOND
(continuing)
My name's Reggie Hammond.
Big personality smile.
RITA
So what?
She turns away as he takes a drink. He looks at another
pretty girl (ANGELA).
HAMMOND
Hi there. I'm Reggie Hammond.
ANGELA
I'm with somebody.
She turns away.
HAMMOND
This ain't my night.
He drinks up.
TRANSITION.
SQUAD ROOM - NIGHT
Several Detectives are working at desks. Kehoe walks into the
office. He moves slowly to Cates' desk and slumps down in a
nearby chair.
KEHOE
You look awful.
CATES
So do you...been a long day.
KEHOE
Long night, too, from what I heard
... Word's going around that in
addition to losing Ganz for the
second time, and in addition to
Haden busting you back to
Patrolman, some jig beat the crap
out of you.
CATES
Aw, bullshit, you heard wrong.
KEHOE
Doesn't look like it.
CATES
Nothing came in for me yet? No
calls?
KEHOE
Nothing.
Kehoe's phone begins to ring. Cates watches hopefully.
KEHOE
(continuing)
Kehoe... Okay, hang on.
Offers the phone to Cates.
KEHOE
(continuing)
It's for you... Ordinance.
Cates' excitement vanishes. He takes the receiver. Kehoe
begins to clean off his desk.
CATES
Hello... Yeah, okay. I'll be in
tomorrow. That's right, you can
depend on it. Okay?
He slams down the receiver, leans back in the chair.
CATES
(continuing)
Bullshit red tape.
KEHOE
I'm heading out. How about you?
Cates shakes his head.
CATES
I got to wait for a call.
KEHOE
Okay. See you in the morning...
you know, you ought to get some
rest...
He walks out the door. Cates stares fixedly at the phone on
the desk. Hoping Hammond will call... Across the room another
phone starts to ring. Cates stares at the PLAINCLOTHESMAN who
answers.
PLAINCLOTHESMAN
Yeah, he's here.
Cates stiffens.
PLAINCLOTHESMAN
(continuing)
Cates... line twelve.
Cates snatches up the phone, shouts into it...
CATES
You motherfucker, where are you?
ELAINE
In the Chronicle Restaurant and Bar, a well appointed
establishment off Montgomery Street.
ELAINE
I'm at work, asshole. Where else?
CATES
Elaine! I... I'm sorry... I was
expecting somebody else... police
business.
ELAINE
No wonder you're so popular.
CATES
No, it's I'm just surprised you
called.
ELAINE
So am I.
ELAINE CATES
Jack, this afternoon... Hey, look, when...
ELAINE
You first.
CATES
Look, I'm sorry about ... the way
things have been lately. I know
I haven't been acting real great...
Behind Cates, Kehoe steps back into the room.
KEHOE
Hey, Cates...
Cates swings around.
KEHOE
(continuing)
I almost forgot. That pal of
yours from the Vice Squad wants
you to call him.
CATES
What?
ELAINE
Jack, are you still there?
KEHOE
Yeah. He said he rousted a bar
with you last night.
CATES
Jesus Christ. Why the hell didn't
you tell me before?
KEHOE
I'm not paid to take your personal
calls. He was in some bar. .. off
duty.
Cates interrupts.
CATES
The number ... what's the Goddamn
number?
ELAINE
Jack? What was that?
KEHOE
Find it yourself. It's on my desk.
Cates speaks back into the receiver.
CATES
Elaine, I gotta put you on hold...
ELAINE
Jack, wait...
CATES
Just a second, that's all!
He hits the bold button, starts rummaging through the desk.
Paperwork scatters in all directions.
Kehoe watches him in silence for awhile then leaves. Cates
begins to dial.
CATES
(continuing)
Hammond... you son of a bitch,
where are you?
Listens for a moment.
VROMAN'S ROCK CLUB
Hammond on the phone as the band rocks away. (MONKEY
MASH - Track only)
HAMMOND
Hey, Jack, how ya doin'? What took
you so long to call, man? I been
waitin' ... I'm at Vroman's up in
the Fillmore. Yeah, Vroman's...
'Course you don't hang out here;
it's for the brothers.
SQUAD ROOM
CATES
I'll be there in a minute. You
don't move your ass, right?
Slams down the phone. Starts toward the door. Remembers...
He dashes back to the phone, hits the other line. Hears only
a buzz.
CATES
(continuing)
Oh, shit.
TRANSITION.
VROMAN'S ROCK CLUB
Band blasting away on another number (THE BOYS ARE BACK IN
TOWN - VOCAL)
Hammond now in the middle of the floor dancing his ass off
with a girl named CANDY. As the song ends...
HAMMOND
My name's Reggie Hammond.
Tries his big personality smile.
This time gets one back.
CANDY
I'm candy...
HAMMOND
Excuse me, baby, but if i don't
get some action tonight, I'm gonna
bust. You interested?
CANDY
Hey, what kind of talk is that?
HAMMOND
Oh ... You're a schoolteacher...
CANDY
No, I go to a school to learn how
to do hair. It's a government
program. But really I want to be
a model - and I am definitely not
sellin'.
HAMMOND
(humorously)
Goodbye.
She stops him.
CANDY
Hey, don't you think a hair
stylists got any interest in
gettin' it on?
HAMMOND
Here you go sweetheart, throw it
my way.
He gives her a kiss.
CANDY
You're in a hurry.
HAMMOND
Yeah, i been waiting three years.
CANDY
You just quit bein' a priest or
somethin'?
HAMMOND
No, baby, nothin' like that.
Look, there's a place across the
street. We can go right over
there...
CANDY
What's the matter with my place?
HAMMOND
No, it's gotta be here and now.
Believe me. Only I don't have the
damn money for a room...
The band starts up again. ("LOVE SONGS ARE FOR CRAZIES" -
VOCAL)
CANDY
Yeah, well, even us non-pros
expect the guy to pay for the
room...
Cates suddenly appears... steps between them. Yells above the
band's noise.
CATES
Where's luther?
HAMMOND
Be polite. Say hello. This is
Candy.
CATES
Hello. And goodbye.
She looks at Hammond. He nods.
CANDY
Well, maybe I'll see you later ...
HAMMOND
Here's hoping, baby...
Candy leaves and melts into the crowd on the dance floor.
CATES
What about Luther?
HAMMOND
What about Ganz?
Cates shrugs.
CATES
We missed.
HAMMOND
You missed ... Luther took a taxi
to the hotel across the street.
Made a phone call.
CATES
Maybe we should pay Luther a
visit.
HAMMOND
Let him get some sleep. He's
going to need it.
They move to the bar.
HAMMOND
(continuing)
They must have set up a meeting
for the morning; Luther left an 8
am wake-up and put up the "Don't
Disturb" sign. He's trading his
girl for the money. All we have
to do to grab Ganz is not go blind.
CATES
So you took the rest of the night
off...
Hammond smiles.
HAMMOND
We don't have too many
cheerleaders in prison. I though
I might indulge myself in a little
trim.
Cates orders two drinks.
CATES
Tell me something. Why didn't you
just take the money off Luther and
split?
HAMMOND
Forget it. I want Ganz as bad as
you do and I got some other news
for you...
He opens his jacket slightly. Reveals a shoulder holster and
accompanying .45. A long moment.
CATES
I don't know why, but I'm going to
let you keep it. Maybe because you
told me you had it, or maybe just
because I'm too tired to argue...
HAMMOND
You sure that's the reason?
Pause.
CATES
Thanks for callin' in... and I
guess Maybe... Look, I'm sorry I
called you Watermellon nigger...
those kinds of things. I was just
leanin' on ya, doin' my job.
HAMMOND
Bein' good at your job don't
explain everything, Jack ...
CATES
Yeah. Guess not.
Hammond gives him a big smile.
HAMMOND
As long as you're feeling like Abe
Lincoln, how about payin' me on
our bet? We got time and all this
pussy around here's drivin' me
crazy. See that one over there,
the one I was with...
He nods at Candy across the way.
CATES
Yeah, I see her.
HAMMOND
I can just take her right across
the street to Luther's hotel. All
I need is some money for the room.
HAMMOND
(continuing)
Big smile as Cates produces some cash. Hammond counts it
eagerly. Looks around. Candy suddenly appears like a trout
seeing a lure. She grabs the money.
CANDY
Hello, again.
HAMMOND
I just struck it rich... I think
we can do a little business. As
a matter of fact, I think we can
have a party.
Hammond smiles, leads her out of the bar.
CATES
Hurry back.
Cates watches them go, downs his drink. He fishes in his
pocket for a coin, moves to a wall phone. Dials...
CHRONICLE RESTAURANT BAR - NIGHT
A COCKTAIL WAITRESS answers the phone as Elaine pours a drink.
COCKTAIL WAITRESS
It's for you.
Hands her the receiver.
ELAINE
Hello.
CATES
Hi, it's me...
ELAINE
Fuck you.
She slams down the receiver.
SIDEWALK - FRONT OF VROMAN'S - NIGHT
Hammond and Candy exit the rock club. A line of young Punkers
waiting to get inside... Hammond and Candy are in a tight
clinch, a little giggly.
CANDY
So... what did you have in mind?
Suddenly, Hammond sees Luther emerge from the Predmore across
the street.
HAMMOND
Oh no, not now!
Luther moves down the street with the briefcase. Hammond
pulls Candy back inside Vroman's.
VROMAN'S ROCK CLUB - BAR
Rock group still blasting away... (LOVE SONGS ARE FOR
CRAZIES - Vocal continues)
Hammond and Candy reappear, knocking aside a waitress about
to refill Cates' drink.
CATES
That was quick.
HAMMOND
When you been in prison three
years, it don't take long. Let's
go.
CATES
Why?
HAMMOND
Luther's on the move...
Cates jumps up, runs out. Hammond looks at Candy.
HAMMOND
(continuing)
I'll be back. Trust me.
He kisses her.
Runs off after Cates. She stares at him in disbelief.
STREET LIGHT
Luther checking over his shoulder for shadows, walks down the
block. Turns into a narrow street.
A BUS STOP
Luther waits, impatient.
Checks his watch.
Looks up and down the street.
He double-checks the bus stop sign over his head.
Just as a bus pulls to a stop, air brakes hissing ...
LUTHER
Gets in.
Sees that the driver is Billy Bear...
BUS
The bus starts up. Luther hesitates in the front. On the wide
rear seat is Ganz. Rosalie beside him.
GANZ
Open your coat. Both sides.
He shows he's not packed.
LUTHER
Let her go.
GANZ
First, the money.
Luther takes a step.
GANZ
(continuing)
Just show me.
Luther puts the case on a side seat, opens it for display.
ANOTHER BUS STOP
Commuters look up expectantly. One of two drift toward the
curb. Jump back in alarm as the bus roars by.
BUS
Ganz is satisfied. Luther closes the case.
LUTHER
Rosalie, you okay?
GANZ
What are you talkin' about? I said
I wouldn't hurt her.
And then he shoots Luther. Right between the buttons.
GANZ
(continuing)
I never break my word.
Laughs as Rosalie begins to scream.
CATES' CADDY
Barreling down the street, ignoring red lights.
Hammond shouts over the wind.
HAMMOND
Notice something funny about that
bus?
CATES
Yeah. It missed the last four
stops.
Cates pours on the gas.
BILLY BEAR
His eyes fall on the rear view mirror. A white Caddy dances
in the vibrating glass. Billy looks over his shoulder at Ganz.
BILLY
Ganz!
THE CADDY
Swerves into cross traffic, makes a big press forward. Comes
abreast of the driver's side of the bus.
GANZ
Smashes a side window with the two handguns.
Blasts away.
Cates driving with one hand as he draws his gun.
CATES
Looks up as glass shards sparkle down.
He speeds up ... he is neck and neck with the bus.
Hammond has a clear shot of Billy Bear who gives a side
glance at him;
Hammond doesn't shoot...
Cates slows down and fires...
Billy is hit in the shoulder. Ganz runs up and fires again...
Hammond is hit in the arm. Cates grabs Hammond by the shirt.
Yanks him close. Throws the wheel over ...
CADDY
Swerves as bullets pepper the passenger side. Stuffing flies
out of Hammondis still warm seat. The right hand windows
explode. Then the Caddy spins out.
THE BUS
Roars away...
THE CADDY
Skids into a traffic sign, demolishing some newspaper
machines. Cates curses, tries to start the car. The engine
won't turn over. He looks at the distant bus.
CATES
Goddamn! Goddamn! Goddamn!
Pounds on the dash. What's left of the windshield falls in at
the impact.
TRANSITION.
SQUAD ROOM - NIGHT
Cates at his desk. Hammond seated nearby, now with a bandaged
arm. Haden in front of Cates, furious.
HADEN
A bus, you goddamn whiskey mick
cop, you lost a stolen bus... We
got five deaths related to Ganz,
all of 'em law enforcement
related, and you blow it for a
lousy nigger convict...
Cates says nothing...
HADEN
(continuing)
That's rights I called him a
nigger. You bet I did ... I saw
the report on that little piece of
shit. If he spent one legal day
in his whole life, it'd be a
record...This is it for you...
suspension, review board... you've
had it. When it gets 'round you
protect a con rather than nail a
cop killer...
Cates stands up.
CATES
He's got more brains and more guts
in one corner of his asshole than
any cop I've worked with.
HADEN
Just cause you say it with
conviction don't mean shit to
me... How you gonna take to a pink
slip, huh?.
Cates stands. Moves to Hammond. Handcuffs himself to him.
HADEN
(continuing)
Where the Christ do you think
you're going?
CATES
I'm taking my prisoner back to
jail.
Hammond looks at Haden.
HAMMOND
Goin' a little hard on him, aren't
you?
HADEN
Go fuck yourself convict.
HAMMOND
You know for a man, you have very
pretty brown eyes.
Cates and Hammond walk out.
UNDERGROUND PARKING LOT - POLICE STATION - NIGHT
Cates and Hammond walk stoically along a row of cars, arrive
at Hammond's Porsche.
HAMMOND
Hey, how'd my car get here?
CATES
I had it impounded. Come on,
we'll use it for haulin' you back
to the slam.
HAMMOND
Back to jail in my own car. Ganz
got away. Got all my money. It
just don't seem right.
CATES
I don't know about you, but I
could use a drink... I'll buy you
one. It'll be my good-bye present.
Takes off Hammond's cuffs. Looks at them.. Throws them away.
HAMMOND
Sorry we didn't do better, Jack.
I feel like I let you down.
CATES
Naw, you didn't let me down. It
was a long shot all the way. We
gave 'em a good run at it.
HAMMOND
Yeah, but we didn't get 'em.
They get in and drive off.
TRANSITION.
EXT. CITY STREET - NIGHT
The Porsche blasts by ... These men want a drink.
TRANSITION.
CHRONICLE RESTAURANT AND BAR - NIGHT
Cates and Hammond walk in. It's late, the place is almost
empty. The Bartender is a woman with her back to them
conferring with a waitress about something.
HAMMOND
It's late, they're closing...
CATES
Don't worry about it.
The barmaid turns around to take their order. It's Elaine.
ELAINE
Hey, I don't believe it.
CATES
Hiya, kid.
ELAINE
I ought to have you and your
friend thrown out...
CATES
Don't. We've had a hard night.
ELAINE
I can see that. Pardon me for
saying so, but you look like
shit. What happened?
CATES
We and my pal here have been
taking it on the chin for the last
few hours...
Hammond looks at her. He nudges Cates.
ELAINE
Who the hell are you?
HAMMOND
Name's Hammond, Reggie Hammond.
I heard a lot about you. And any
friend of Jack's is a friend of
mine.
Gives her a big smile.
ELAINE
I'm not so sure I can say the same
thing...You don't look like a cop.
HAMMOND
Well, I been workin' the other
side of the street for the last
few years. And you don't exactly
look like a shrink, wearin' that
dress...
ELAINE
Shrink major, not a shrink.
She pours three glasses of cognac. A STRAGGLER at the end of
the bar pipes up.
STRAGGLER
Hey, lady, a drink here.
ELAINE
We're closed.
STRAGGLER
Hey, what the hell?
Elaine turns to him; it's short and sweet.
ELAINE
Drink your drink, pay up and get
out.
STRAGGLER
You can't do this. It's against...
ELAINE
Hey, just fuck off. My friends
have guns.
Cates holds up his pistol. The man's eyes widen and he turns
his angry move toward her into a skedaddle out of the bar.
Elaine finishes drying a glass and approaches.
ELAINE
(continuing)
You real down?
CATES
I've been better...Dead end. No
Ganz, no Indian.
He finishes his drink, puts down the glass.
CATES
(continuing)
I gotta call the station.
Looks back at Hammond...
CATES
(continuing)
Don't run off anywhere, okay?
I've already got enough to worry
about.
Moves away.
HAMMOND
Hard man to live with.
ELAINE
How would you know?
HAMMOND
Hey, two days with him is enough.
ELAINE
That's no bull.
She looks at him carefully. They both grin.
CATES
In the phone booth.
CATES
Is there any report ... No ...
Just tell me... nothing..Yeah I
figured... Okay, sure.
Hangs up.
ELAINE AND HAMMOND
Cates returns...
CATES
Nothing. No sign of Ganz. No
sign of the Indian. Airport's
clean. Train station. Bus
station. Docks... Shit...
ELAINE
Ganz is going to be hard to track.
Just a pure schizo ... wires all
crossed... totally without any
pattern... kill anybody... The
Indian... himself... anybody...
CATES
How do you know?
ELAINE
Jack, it's all over the papers.
He's an obvious type. But this
Indian...
Hammond cuts in.
HAMMOND
He was the only one of my bunch
that was my friend... He was
loyal, went all the way for you...
ELAINE
In all due respect, he sounds kind
of pathetic to me. The kind of
guy that runs home to his momma or
some girlfriend. Have you two ace
detectives checked that out?
CATES
Yeah, well the only woman of the
Indian's we ran into was shacked
up with her dyke girlfriend. I
guess she went with him before she
came outta the Closet ... They
both looked mad enough to kill
him...
HAMMOND
Yeah, too bad. They were real
nice lookin' too...In bed
together, hardly any clothes one
watching TV...
ELAINE
What makes you think they were
lesbians, or as you so quaintly
put it, dykes?
CATES
Come on, they were a little old
for a slumber party.
ELAINE
It might pay to reexamine a few of
your more primitive notions. I
was in bed with a girlfriend
watching TV last week, Jack, and
one thing we know about me is I
happen not to be a lesbian ...
Now, if this Indian's girlfriend
got upset when you came looking
for him, it could just be she's
still vulnerable to him.
CATES
So what?
ELAINE
When a guy hurts you, then comes
back bleeding on his hands and
knees, who knows, he might just be
irrestible.
CATES
Hey, Come on, shrink time's over.
They wouldn't go see some old
girlfriend.
ELAINE
Oh, yeah, well look where you came
when you were down and out.
HAMMOND
She's got a point there, Jack.
Smiles. Cates reflects for a moment.
CATES
It's the only thing we got.
He looks at Elaine.
CATES
(continuing)
Whaddya think?
ELAINE
What do I know? I'm just a
bartender.
CATES
Let's go, Reggie.
He kisses Elaine.
HAMMOND
Do I get to kiss her too?
CATES
If she's right, and if you don't
screw up.
They exit the bar.
TRANSITION.
EXT. STREET - CHINATOVIN - NIGHT
Cates and Hammond hidden in a doorway which affords them a
good view of the alley landing to Casey and Sally's apartment.
HAMMOND
What if your girl's theory turns
out to be bullshit? I mean, they
could be in Rio de Janeiro.
CATES
I've got to play it rough with
them. If they know anything, I'm
gonna know it.
A woman appears, turning out to be Casey carrying a shopping
bag.
HAMMOND
Hey, there she is...
CATES
Whatever play I maker just back me
up.
HAMMOND
If we run into Billy first, let me
try and talk him in.
CATES
Sure, I'll give you a shot at it,
but Ganz is mine. You know, that
big Indian plays it for keeps...
HAMMOND
Yeah, and I know Ganz sure ain't
no sweetheart... I wouldn't like
it if this partnership ended
before it gets started.
CATES
Partnership?
HAMMOND
Well, you got to admit we come a
long way.
Cates gives him a smile.
CATES
Let's just do it.
APARTMENT STAIRWELL
As Casey opens the door and starts toward the.stairs, Cates
and Hammond come through the door and grab her. They are now
on the ground floor stairwell.
CATES
I hear you've got visitors.
CASEY
Would you guys...
CATES
No time for any of that crap any
more, lady... I'll rip your lungs
out if you don't answer fast.
Cates has her by the shoulder and arm; he twists her like a
vise...
HAMMOND
He means it...
She looks at Cates, knows Hammond's correct.
CASEY
Don't kill him. Please, just
don't kill him.
A long moment.
CATES
You and the other one, you're
still Billy's girls. You always
were his girls...
CASEY
Yeah. Sure, i'm crazy in love
with him, who wouldn't be...
CATES
You're gonna help us take him.
CASEY
No chance.
CATES
He can live or die ... You let us
in and he's got a chance to make
it. Otherwise, he gets ventilated.
Casey's face is seared with pain at the thought of Billy
dying.
HAMMOND
If you help use he's got a chance,
lady.
CASEY
Billy's in the first room off the
hall ... With rosalie ... He's
makin' her happy tonight. You
don't understand about the way it
is with him, do ya?
CATES
Where's ganz?
CASEY
In the back. Down the other
corridor.
Cates looks at Reggie.
CATES
Looks like you're gonna get your
chance.
They move upward...
INT. APARTMENT - NIGHT
Cates is stealthily going to the end of the second corridor
of the kitchen and living room area. That corridor turns at
a sharp angle and goes to the back. Hammond is at the very
front of that first corridor..at a door ... he shoves it back.
INT. FIRST BEDROOM
There is a bed and Rosalie, undressed, is in it... Billy is
seated on the edge of it... pants on, shirt off, pulling on
his boots. Suddenly, Hammond is pointing a gun at him...
HAMMOND
Give it up, Billy. You got no
shot at it.
Billy stands.
ROSALIE
Don't let him hurt met Billy.
You're not gonna let 'em hurt me,
are ya?
BILLY
He won't hurt you. He ain't gonna
do nothin' to you, he's just after
me.
HAMMOND
I'm tellin' ya, Billy, give it up.
BILLY
I never was much for bein'
rehabilitated.
Billy looks at Hammond. With lightning sudden quickness, he
reaches and produces a huge Bowie knife from behind his back.
Billy smiles, laughs...then with a sudden, awful roar, he
leaps at Hamnond who unflinchingly fires his pistol. The big
slugs stop Billy cold and throw him back against the bed as
Rosalie shrieks.
INT. BACK BEDROOM
Ganz, half-dressed, asleep, gun in hand, throws himself off
the bed, pushes Sally out of the way ... opens the door and
starts firing furiously down the corridor... He grabs the
briefcase and runs to the window.
INT. CORRIDOR/DOOWAY TO BACK BEDROOM
Cates has ducked the bullets ... he is inching toward the
door...
He pulls it open...Ganz from the window fires another shot
which almost gets him then vanishes down the fire escape...
INT. BACK BEDROOM
Sally gets to her feett yelling, runs at Cates as he appears
and futilely tries to hit him....He throws her down on the
bed as if she were a doll ... He goes to the window...
EXT. FIRE ESCAPE
Ganz peels down the fire escapes hits the ground. He stops
for a second... Then Cates appears, Ganz fires a shot then
starts to run. Cates keeps coming...
INT. FIRST BEDROOM
Hammond hears the gunfire, runs out of the room...
CATES
Dives down the fire escape.
BATHROOM
Hammond enters to find it empty of Ganz and Cates, only Sally
crying hysterically ... He runs out.
EXT. CHINATOWN STREET
Ganz runs out the back alley ...Cates pursues...
ALLEY
Hammond runs down the stairs toward the front of the building.
EXT. STREET
Ganz runs, turns out of an alley onto a street baked with
neon light. Cates pursues.
EXT. FRONT OF CASEY'S BUILDING
Hammond runs out, turns down the adjoining street.
CATES
Following Ganz, holding him in sight, but unable to get a
shot off...
PARALLEL STREET
Hammond running down a street near the one where Ganz is
being chased...
MAIN STREET
Cates fires at Ganz ... Ganz ducks in a doorway...
HAMMOND
on his street hears the shot... he runs toward it, down a
narrow alley between two buildings....
EXT. DOORWAY AT END OF ALLEY
Ganz hears footsteps approach from the opposite direction of
Cates. They move very close to where be is crouched... it is
Hammond coming toward him... Ganz suddenly rolls a garbage
can in his path, dropping him like a stone.
CATES
Comes toward where he expects to find Ganz... Ganz has his
arm around Hammond's throat and his gun to his ear...
GANZ
Drop it... you come up against me,
you're gonna lose...
Hammond drops his gun.
GANZ
(continuing)
Hey, cop, come on...l got
something for ya... come on...
EXT. MAIN STREET
Cates comes out of the doorway from which he's fired...and
comes into the middle of the street, gun up ... he puts it
down when he sees Ganz with Hammond in jeopardy. The hand
that's around Hammond's throat also holds the black bag.
Cates walks forward, his gun down at his side...
GANZ
After I get outta this, cop...I'm
gonna live forever...
CATES
I don't think you're gonna make it.
GANZ
Whaddya mean...I got your gun ...
I got his money... I got
everything...
HAMMOND
Give up. He's crazy. He'll kill
us both.
Cates still walking...
GANZ
He won't try it. He's a fucking
chickenshit cop. They're all
fucking wimps, right, Cates?
They are now closer to each other. Ganz holding Hammond and
the money...
GANZ
(continuing)
Okay, cop ... give me your gun and
I'll let him live. Come on, Cates,
you're real good at giving up your
gun.
Cates keeps the same methodical pace...
CATES
Sure...
Suddenly, he crouches and fires twice. Hammond twists as Ganz
also fires. Ganz is hit in the collarbone and driven ten feet
backward. His grip on Hammond drops, Hammond dives to the
ground, looks at Cates.
HAMMOND
Jesus Christ, I didn't think you'd
really do it. You are crazy.
Ganz' gun still in his hand, but his arm useless at his side.
Cates is frozen in the crouch, ready to fire again.
Ganz is in enormous pain holding his bleeding chest... A look
of childish disbelief passes over his face.
GANZ
I got hit. I can't believe it. I
got shot.
CATES
You're done. End of story.
GANZ
I ain't gonna beg for my life. It
ain't cool.
He runs at Cates full-speed, screaming, roaring, then is
stopped by two more bullets that tear fist-sized holes in his
chest. Cates rises from his crouch. Takes his gun out of
Ganz' now lifeless hand. Then goes over to Hammond...
HAMMOND
Yours?
Cates raises the pistol.
CATES
Mine...
Pause.
CATES
(continuing)
You okay?
HAMMOND
Yeah. But I wasn't there for a
second.
CATES
You did pick a real strange time
to go and be brave all on your
own...
Hammond smiles.
HAMMOND
Just tryin' to get the money,
Jack. Just tryin' to build up a
few points on that merit system.
Cates smiles back, picks up the black bag as they move off.
TRANSITION.
ELAINE'S BATHROOM
Cates in the tub, steam rushing from the water.
Elaine sits on the porcelain edge as he splashes and soaps...
ELAINE
How'd they take it back at
headquarters?
CATES
Usual bullshit. You make one
smart move and everybody wants to
be your friend... You know
somethin', shootin' guys sucks.
Especially compared to this.
ELAINE
I've been waiting a long time to
hear you say that.
CATES
Yeah, bein' a hard-ass all the
time is a real drag, but it works.
He reaches out, lifts his watch from his pile of clothes on
the floor.
CATES
(continuing)
Three more hours...
ELAINE
Where is he?
CATES
Promised I'd turn my back while
he... ah, never mind...
ELAINE
Tell me.
CATES
He's takin' care of the same
business I'll be takin' care of -
soon as I dry off.
Elaine smiles, leans close.
ELAINE
You're impossible...
CATES
That's what I always say.
TRANSITION.
CANDY'S ROOM - NIGHT
Minimal crummy hotel room accommodations... Hammond is
kissing her at the door, finishing buttoning all his buttons.
He reaches for a wallet, gives her several bills.
HAMMOND
Here you go, baby.
CANDY
Hey, don't do that. I said I
wasn't a pro, remember?
HAMMOND
Hey, no, I'm tryin' to be nice.
Buy yourself something pretty.
I'd do it, but I got to go. I got
this cop waitin' for me...
They kiss... it's pretty romantic... She opens the door for
him.
CORRIDOR
She stands at the top of the stairs; as Hammond walks down,
he calls back to her over his shoulder ...
HAMMOND
I'll be back in six months...
Maybe I'll make an honest woman of
you.
He gives her a big sniile.
HAMMOND
(continuing)
I'll buy ya the best dinner in San
Francisco...how'd that be? Then
we'll go dancin', okay?
CANDY
Now you're talkin'. See ya...
He moves off, still smiling, holding the black briefcase...
STREET - NIGHT
on a picturesque hill above the Haight. Cates standing near
the wheel of Hammond's Porsche. Hammond comes down the porch
steps from the hotel.
CATES
Okay, reggie, start bustin' my
chops... Tell me how great you
were with that chick.
HAMMOND
Hey, Jack, real men don't have to
go in for that macho bullshit ...
but I was fantastic.
As a riatter of fact, I was so
good, I may have my cock done in
bronze.
Cates holds up the black briefcase.
CATES
I guess this is what you want to
talk about...All the pretty money
that's inside here.
Cates takes the case to the trunk, opens it, deposits the
case, locks the trunk.
HAMMOND
Wait a minute, Cates. I've been
waitin' three years for that. I
don't think it's fair, man. What
about the merit system.? You were
gonnna give me a few thousand.
CATES
There's nothin' to talk about.
Another long exchange of looks. Then be hands Hammond the
keys to the trunk.
CATES
(continuing)
It's your money. It'll be here in
six months when you get out.
HAMMOND
And you're tellin' me you don't
want any of this cash?
CATES
That's right. Not my style,
Reggie..
HAMMOND
You are an awesomely weird cop.
Sure wish there were more like you
runnin' around out here.
CATES
No, you don't. If I ever get word
of you steppin' over the line
again, I'm gonna ventilate that
suit of yours.
HAMMOND
Spare met Jack. I'm into legit
investments from here on in.
Cates gives him a very skeptical look, as they head for the
car.
Hammond gets in behind the wheel, Cates on the passenger side.
Cates takes out a cigarette, starts to light it.
Hammond takes the match does it for him.
CATES
Thanks.
HAMMOND
No trouble, Jack. But, listen,
suppose I stay a crook? Where'd
you get the idea that you could
catch me?
They both smile. Hammond socks it into gear and they drive
off into the far distance...
END.
The Fifth Element
An original script
by
Luc Besson
Revisions by
Luc Besson
and
Robert Mark Kamen
August 1995 Draft
Gaumont and Les Films du Dauphin
FADE IN:
1 EXT. DESERT NILE RIVER VALLEY - DAY
Somewhere in the Nile at the edge of the desert.
CREDITS ROLL
WRITTEN: EGYPT 1913
OMAR and his mule zigzag along the bottom of sun scorched dunes.
2 EXT. TEMPLE EXCAVATION - DAY
The mule and the boy finally reach a camp. A few tents dwarfed by a huge
temple door jutting out of the sand. The camp is deserted except for
some kids by the temple entrance holding large mirrors, reflecting light
into the temple.
Omar leaves his mule in the shade, seizes two goatskins and slips inside
the temple.
3 INT. TEMPLE - DAY
Omar makes his way uneasily down a pillared corridor that opens into a
vast room where an old scientist stands on a small wooden ladder in front of
the wall across the room. PROFESSOR MASSIMO PACOLI. A young man is beside
him, BILLY MASTERSON, age 25, an American student. He has a large sketchpad in
his hands. Behind them AZIZ, age 10, whose job is to hold the last
mirror which shines light into the expansive room.
PROFESSOR
(deciphering)
"..when the three planets are in eclipse.."
His fingers trace across the wall which is covered with symbols and
strange hieroglyphs as he deciphers.
PROFESSOR
"..the black hole like a door is open...
Evil comes ... sowing terror and chaos..."
See? The snake, Billy. The Ultimate Evil
... make sure you get the snake!
The Professor points emphatically to the snake, the symbol of Evil,
coming through the door between the three planets in eclipse. C.U.
Billy's hand sketches the snake quickly. He is a natural artist.
BILLY
And when is this door opening snake act
supposed to occur?
The Professor's fingers touch the signs.
PROFESSOR
..if this is the five..and this the thousand..
He calculates.
PROFESSOR
Every five thousand years..
BILLY
(kidding)
So I have some time..
He reaches for the pad.
ANGLE ON: Omar. Standing at the entrance to the chamber with the water
bag, entranced by the sight. A skeletal hand falls on his shoulder. Omar
turns to an ancient PRIEST in a rough milled black cannock.
PRIEST
I will take it to them my son.
Startled but obedient, Omar gives the water bag to the Priest.
PRIEST
Go with God.. be safe from Evil..
The Priest makes the sign of the Cross on the boy's forehead, dismissing
him.
As soon as he is gone, the Priest turns a worried eye to the Professor.
ANGLE ON: The Professor is back to translating, Billy to sketching.
PROFESSOR
"..then arrange the elements of life against
the Terror just so.."
His fingers run on.
PROFESSOR
"..Water..fire..earth..air..four
elements around the fifth.."
His fingers fall on the one element that has a human shape, surrounded by
all the others.
The Priest opens the water skin and begins to pour a vial of powder into
the skin.
ANGLE ON: Aziz falling asleep. The mirror falls, the light fails.
PROFESSOR
Aziz! Light!
The boy struggles to stay awake. The mirror comes up.
PRIEST
Lord forgive me.. they already know too,
much..
PROFESSOR
"..in which all the history of the Universe resides
..all the strength..all the hope..Protect us from
Evil.."
PRIEST (V.O.)
Amen..
The Professor turns to the Priest who is pouring water into a tin cup
from the skin.
PROFESSOR
Father.. it in the most extraordinary thing..
the greatest find in history..can you imagine
the implications.
PRIEST
Only too well... here you must be
parched..
He hands the cup to the Professor. The Professor takes it, has it almost
to his lips when..
PROFESSOR
I mean look.. it is like a battle plan..
In his excitement he does not drink, much to the Priest's chagrin.
PROFESSOR
Here the Good.. Here the Evil..
As the Priest looks up, Aziz the mirror boy, tips his mouth under the
water skin, drinking the leakage.
PROFESSOR
Here..
He points to the Five Elements.
PROFESSOR
A weapon against evil. Amazing! I am
going to be famous.
PRIEST
Then let us toast to your fame! Here Billy..
The Priest hands Billy a cup.
PRIEST
Drink!
PROFESSOR
To fame.. salud..
The Professor raises the cup to drink, and then...
PROFESSOR
We cannot toast with water.. Billy !
In my sack.. the Grappa!
The Priest watches, disconsolate, as the Professor tosses away his water.
Billy finishes his cup before running off into the tunnel.
4 EXT. COLONNADE - DAY
A muffled SOUND grows steadily louder. Outside, a monstrous linear shadow
disturbs the kid's game and gradually darkens the temple entrance.
5 INT. TUNNEL - DAY
Billy is looking for the grappa in the Professor's bag. He comes upon a
machine pistol. When the muffled SOUND suddenly grabs his attention. He
leans toward the corridor and sees part of a spaceship appear. Billy is
paralyzed.
6 INT. TEMPLE ROOM - DAY
The Professor keeps reading over the inscription.
PROFESSOR
"..this perfect person.. this perfect
being.." I do not understand this.. perfect?
PROFESSOR
Where is that boy? Billy!
7 INT. TUNNEL - DAY
Billy presses himself against the wall, in the shadows, terrified, but
sketching away like mad, as large shadowed figures lumber past him. He
begins to blink, feeling the effects of the Priest's potion..
8 INT. TEMPLE ROOM - DAY
The Professor reads the wall.
PROFESSOR
And this divine Light they talk
about.. what is Divine light?
At that moment, the reflection from Aziz's mirror drops again. The light
fails.
PROFESSOR
(without turning)
Aziz light!
The room is flooded with light all of the sudden.
PROFESSOR
Better.. this is the most unbelievable thing
I have ever seen..
The Professor turns around, and is stunned speechless to find himself
face to face with two MONDOSHAWANS. A dozen others fill the hall manning
the source of the light, large luminous globes. Aziz is fast asleep.
PROFESSOR
(uncomprehending)
...Uh, yes?
The Professor is lifted up and carried off to the side by the aliens.
The KOMMANDER stops in front of the Priest who is still on his knees, face
to the ground.
PRIEST
Master... He was about to discover everything,
but I had the situation under control.
The two MONDOSHAWAN GUARDS hold the professor three feet off the ground.
PROFESSOR
(in a panic)
Who are you? Are you Germans? Sprechen
Sie Deutsch?
9 INT. TUNNEL
Billy staggers forward, a machine pistol in his hand.
10 INT. TEMPLE ROOM
The KOMMANDER holds out his hand to the Priest.
PRIEST
What did I do wrong?
The Priest jumps to his feet excitedly.
KOMMANDER
Servant, you and the thousand guards
before you... You have done your work well,
but we have to recover the elements. War will
soon engulf your planet. We must keep them safe.
The Kommander goes over to the wall and seems to be looking for a lock.
He finds it and slides in his metallic finger which is more intricate
than a key to a safe. He turns his hand, activating a mechanism that opens
the wall.
PROFESSOR
Unbelievable!!!
The Kommander turns around and crooks a finger. One of the MONDOSHAWANS
waves his hand, puts the professor to sleep and heads down the hallway
revealed by the opening. He is followed by his men. The Priest slips in
behind them.
11 INT. ROOM 2 TEMPLE - DAY
The Kommander steps into a vast room. The ceiling is very high, pyramid-
shaped. In each corner of the room, four vessels contain four
rectangular twelve-inch stones-, the four elements. In the middle, an
opaque sarcophagus rests on an altar. The Kommander stops and
contemplates it a moment.
PRIEST
(to himself)
The Fifth Element...
KOMMANDER
Take them and put them in a safe place.
His men carry out his order.
12 INT. ROOM 1 TEMPLE - DAY
Billy staggers across the floor, struggling to stay awake.
13 INT. ROOM 2 TEMPLE - DAY
The Kommander opens a case. His men come and put the four, precious
stones in it, one by one.
PRIEST
(moved)
Will the elements be gone now forever
from this place?
KOMMANDER
When mankind comes to its senses.
We will return.
PRIEST
Knowing mankind as I do, that could take
centuries!
KOMMANDER
Time is of no importance, only life
is important.
The Priest nods and lowers his eyes.
Angle on: Billy staggering forward, raising his pistol, blinking his
eyes to focus..
A MONDOSHAWAN puts the fourth element in the case The Kommander shuts the
case and looks at the Priest.
KOMMANDER
When EVIL returns so shall we.
PRIEST
(head lowered)
We will be ready, Lord.
Billy suddenly staggers into the room, brandishing his gun.
BILLY
Stop.
Billy trips, the gun goes off. He empties the clip. The Mondoshawan
carrying the case crumples to the ground. The wall immediately begins to
close. Billy fires wildly, unable to control the powerful kicking gun.
PRIEST
No!!! Don't!!!
The Priest rushes Billy. The weapon has such a kick to it that Billy
starts shooting into the air, backs up, then stumbles and knocks himself
out. The Priest is on the ground, seriously wounded. So is the Kommander.
The WARRIORS are in a panic.
CLERK
Hurry, Kommander! The wall's closing!!!
The wall continues to close. Sand pours in from everywhere. The vast
room fills up like an hourglass.
KOMMANDER
A mission is a mission, Savoia.
You'll learn that.
The Kommander picks up the case and reaches the wall but can't get
through it. His
armor is too bulky, the opening too small. He manages to get his arm and
the case through.
KOMMANDER
My apologies to General Kroi -- and my wife..
The wall closes, crushing his arm. The CLERK scoops up the case and runs
through the huge piles of sand.
14 EXT. COLONNADE - DAY
The CLERK boards the ship carrying the case. Omar hides in a corner,
frightened to death, hugging Billy's bag of drawings.
15 INT. TEMPLE ROOM - DAY
The room fills with sand. The Priest's body is soon buried.
16 EXT. DESERT - DAY
The huge ship's main hatch closes.
17 EXT. TEMPLE - DAY
The ship lifts off and speeds away. Omar emerges from the temple gaping
at the ship as it vanishes in the sky.
18 EXT. PYRAMIDS
A gigantic shooting star flashes above the pyramids.
19 EXT. EARTH ORBIT
The ship passes in front of us and heads for the stars disappearing at
unbelievable speed. The background is a star-spattered cosmos.
WRITTEN: 500 YEARS LATER
Another, more modern, spaceship, fills the screen. A warship belonging
to the Federal Army.
20 INT. SPACESHIP CONTROL ROOM
CU of a digital control screen. Three planets projecting three straight
lines that crisscross at one point. Identical to the one observed by the
professor on the temple wall. GENERAL STAEDERT looks out through the
ship's window at one of the three huge planets in eclipse.
STAEDERT
Don't you have anything? Not even
a temperature?
CAPTAIN
The thermo-analyzers have jammed.
One of them reads over a million degrees,
the other's at minus 5000...
Never seen anything like it.
TECHNICIAN
It's taking shape.
21 EXT. SPACE
In the middle of the shadows, a door to the nightmare has just opened.
Evil is back. A round, moving mass, continually changing color.
CAPTAIN
(in awe)
What the hell can it be?
TECHNICIAN
Hook-up with the president in one
minute, General.
General Staedert remains calm.
STAEDERT
...Send out a probe.
22 INT. PRESIDENT'S OFFICE MANHATTAN
LINDBERG, 50, the president of the United Federations, his features lined
and worn by various delegations, mainly military, enters his office.
There's a crisis in the air. The President's AIDE leans down to his ear.
AIDE
On air in 30 seconds.
In the middle of the group is a Priest whose appearance reminds us of
Egypt. A younger man DAVID, 18, shy, a priest-in-training attends the old
man.
23 INT. CONTROL ROOM / PRESIDENT'S OFFICE
CAPTAIN
President on line sir..
General Staedert leans over his screen and seems surprised to see the
room but not the president.
PRESIDENT (O.S.)
Staedert, do you read me?
STAEDERT
I can hear you, Mr. President, but I
can't see you .
The President grabs the mini-camera on his desk and yanks it around to
face him.
His face fills the screen.
PRESIDENT
(exasperated)
Is that better?
STAEDERT
Perfect, Mr. President.
PRESIDENT
I have to address the Supreme Council
in 10 minutes.
Just the facts, General.
STAEDERT
There are no results from the chemical
and molecular analysis as of yet, all the
calibers are overshot..we're hoping a
thermo nucleatic imaging..
PRESIDENT
(exasperated)
What you are saying is you don't know
what this..thing..is.
Consternation reigns in the President's office.
STAEDERT
Not yet Sir..The only thing we know is
it just keeps getting bigger!
PRESIDENT
Options.
STAEDERT
Wait or act.
PRESIDENT
Recommendations.
STAEDERT
My philosophy Mr. President is shoot first
ask questions later.
I don't like uninvited guests.
PRESIDENT
Gentlemen?
HEAD CHEMISTS
I think it would be foolish to shoot at an
organism that seems alive, without first
taking the time to study it more!
Besides, it has shown no signs of hostility.
PRESIDENT
(worried)
No... it's just getting bigger.
HEAD CHEMISTS
So do people, but that's no reason to shoot
them.
PRESIDENT
(exasperated)
The security of the Federated Territories is
and remains number one priority.
(to the military)
I suppose General Staedert's "philosophy" is
acceptable to you?
All the Generals nod "yes"
PRESIDENT
All right, then! Staedert?
PRIEST (O.S.)
Mr. President?
The President scans the room. Staedert remote controls the camera toward
the room.
PRESIDENT
...Yes?
The camera moves up the Priest and we finally discover his face. He is
in his sixties, a shrewd look in his eyes.
Around his neck hangs the Kommander's finger, the key to the temple.
PRIEST
Cornelius, Vito Cornelius. 50th level parish.
I have a different theory to offer you,
Mr. President.
PRESIDENT
I'm listening.
CORNELIUS
Imagine for a moment that this. thing is not
anything that can be identified because it prefers
not to be, because it is the antithesis of all we are.
Because it is evil.. TOTAL EVIL.
PRESIDENT
(a little sarcastically)
One more reason to shoot first eh?
All the Generals nod in agreement.
CORNELIUS
Evil begets evil, Mr. President.
Shooting would only make it stronger.
24 INT. SPACESHIP
TECHNICIAN
The probe will attain its objective in
five seconds.
Staedert moves closer to the ship's window.
25 EXT. SPACE.
Evil swallows the probe and immediately bubbles over with activity like a
furious volcano.
26 INT. PRESIDENT'S OFFICE
STAEDERT
Mr. President, we're at crisis point.
The President looks puzzled.
PRESIDENT
Your theory is interesting Father but
I don't think we have time to go into it
right now!
CORNELIUS
Time is of no importance, Mr. President.
Only life is important.
PRESIDENT
(exasperated)
That's exactly what we are going to try and do:
Protect the lives of some 200 billion of our
fellow citizens! General?
You may fire when ready.
27 INT. SPACESHIP
STAEDERT
(cold) (to the CAPTAIN)
..Up front loading of a 120 ZZR missile.
Marker lights on the objective.
28 EXT. OUTSIDE SPACESHIP
All of a sudden, outside the ship, the strange planet's activity ceases.
A black crust immediately covers it.
29 INT. PRESIDENT'S OFFICE
SCIENTIST
(consulting new data)
Its structure has just solidified on the surface,
as if the object felt something. If that's the case,
we are undoubtedly dealing with an intelligence.
CORNELIUS
The most terrible intelligence imaginable,
Mr. President.
The President hesitates.
CAPTAIN
...The ship is in combat formation.
The missile is loaded, General.
PRESIDENT
(uneasy)
Staedert? Give me a minute...
I have a doubt.
STAEDERT
(cold)
I don't, Mr. President.
30 EXT. OUTSIDE SPACESHIP
The missile explodes from the ship and penetrates its target. The
explosion is swallowed like a fizzy pill in a small glass of water.
Nothing happens. And then the mass grows larger.
31 INT. CONTROL ROOM / PRESIDENT'S OFFICE
Staedert looks worried.
STAEDERT
Load a series of 740 missiles. Maximum
shield protection.
CAPTAIN
Yes, Sir.
The President is growing ever more worried.
PRESIDENT
Staedert? What's going on? Did you
destroy it?
STAEDERT
I'm about to, Mr. President.
32 EXT. SPACESHIP
A series of three missiles heads for the planet, which absorbs them all.
And literally doubles in size.
SCIENTIST
The planet's diameter has greatly
increased and it's moving toward the ship.
PRESIDENT
Staedert? Get out of there immediately!
I don't want an incident, do you hear me,
Staedert?
STAEDERT
(worried)
...What do we have that's bigger than 240?
CAPTAIN
Nothing, General.
PRESIDENT
Staedert, get out of there! That's an order!
A bead of sweat pearls Staedert's forehead. He is about to give an order
when a gigantic flame emerges from the planet and literally swallows
Staedert's spaceship.
STAEDERT
(eyes wide)
... Good God!
The flame fills the screen with a horrendous NOISE that....
33 INT. APARTMENT
... wakes up a man trying to escape from a nightmare. KORBEN DALLAS rubs
his head. Thirty five years old, short hair, powerfully built,
unquestionable charm, good looking in spite of the scars here and there.
The alarm clock is still ringing, it shows the date as March 18, 2359. It
in two in the morning. Ha grabs a cigarette, and stops to look for a
light. He shuts oft the alarm. He hears a cat mewing in the hall. But it
still rings. Korben takes a moment and then realizes it in the phone
that is ringing.
KORBEN
(to the cat)
I'm coming.
He grabs the phone and crosses his tiny apartment (27 feet long by 6 feet
wide) heading for the door, patting himself for a light. Behind him, the
bed makes itself automatically.
KORBEN
(on the phone)
Yeah?
FINGER (V.O.)
Hey bud! Finger here.
He opens the door for the cat and starts to rummage through a drawer for
a match. Out come a handful of war decorations, a hero's collection.
KORBEN
(to the cat)
Hi sweetie!
...A Medal of Honor Certificate to Major Dallas
FINGER (V.O.)
I love you too Major, but you haven't called
me that since basic training.
KORBEN
I was talking to the cat.
FINGER (V.O.)
Oh, yeah, I forgot.You still prefer
your cat to the real thing.
...A picture of Korben and his ex-wife on their wedding day.
KORBEN
At least, the cat comes back.
FINGER (V.O.)
(ironical)
You still pining for that two timing bitch.
Forget her.
There are a million women out there.
KORBEN
I don't want a million - I just want
one. A perfect one.
FINGER (V.O.)
Don't exist bud.
...A picture of Korben and Finger in uniform next to a space fighter.
KORBEN
I just found a picture of you.
FINGER (V.O.)
How do I look?
KORBEN
Like shit.
Korben finds a box of matches with three matches. He strikes one. It
does not light. Korben opens the fridge, bare, except for an empty can of
GEMINI croquettes.
On the packet is an ad:
WIN A DREAM TRIP FOR 2 TO FHLOSTON PARADISE.
FINGER (V.O.)
Must be an old picture.. Listen, you gotta bring
me your hack for the 6 month overhaul. A.S.A.P.
Korben heats up some brackish water.
KORBEN
(sighs)
I don't need one.
FINGER (V.O.)
You forgetting who sat next to you for
a thousand missions.
I know how you drive.
KORBEN
Finger! I'm driving a cab now, not a
space fighter!!
FINGER (V.O.)
How many points you got left on your
license?
KORBEN
(lying)
Uh... at least fifty.
FINGER (V.O.)
In your dreams! See you tonight!
Finger has hang up. Korben sighs and does the same. He gets the heated
brackish water and sits down. The cat pounces on the table and meows for
its food. Korben pours half the coffee in the cat's cup.
The cat meows. Korben taps his cup to the cat's saucer.
KORBEN
Cheers!
34 INT. HALL - DAY - OMIT
35 INT. GARAGE - DAY - OMIT
36 INT. PRESIDENT'S OFFICE
The office is emptied, only a few army officers remain. An ancient
manuscript, Billy's drawings, sits in front of the President. Cornelius
turns page after page, illustrating his
point.
CORNELIUS
(to the President)
We have forty-eight hours, the time it needs
to adapt itself to our living conditions.
PRESIDENT
(worried)
And then?
CORNELIUS
And then it will be too late. The goal of
evil is to wipe out life! All forms of life.
For all eternity...Life upsets it.
The President appears upset himself by this image.
PRESIDENT
Is there anything that can stop it?
CORNELIUS
(knowing)
Yes..thank God..
37 EXT. SPACE
The Mondoshawan spaceship bursts through a star cluster and fills the
screen.
38 INT. COCKPIT - OMIT
39 INT. PRESIDENT'S OFFICE
The manuscript is open on the President's desk.. CLOSE ON:
Billy's rendering of the Mondoshawan.
CORNELIUS
(to the President)
The Mondoshawans don't belong to the
Federated Territories, but they are peaceful...
in their possession are the four elements of life.
These elements when they are gathered around a fifth:
The Supreme Being, ultimate warrior, created to protect
life......
The SUPREME BEING is standing, as if frozen in armor. All we see is the
bottom half of his body. Big metallic gloves hold the case engraved with
the emblem of the three suns containing the four Sacred Stones.
CORNELIUS
..will produce what the ancients called the
light of creation, the light of total goodness
which is the only thing that can defeat EVIL.
The President points to the spot occupied by the 5th element.
PRESIDENT
But what happens if instead of
this... Ultimate Warrior... it is EVIL
who stands here?
CORNELIUS
White turns to black. Light to Dark.
Life to Death. For all eternity.
The President's nerves quiver.
CAPTAIN
Sir, we have a Mondoshawan spaceship at
the frontier requesting permission to enter
our territory.
PRESIDENT
I guess I should make a decision..
CORNELIUS
They are the only ones who can help..
GENERAL
Sir..the Mondoshawan do not belong to the
federation. We do not know their intention..
I must recommend a full trinuclear assault..
PRESIDENT
(yells)
Did you see that..thing..swallow our battleship
like a gum drop? You can't even tell me what it is!
I ask you for options you give me bullshit.
Give them permission to enter our territories
with my warmest regards.
CORNELIUS
(relieved)
Thank you, Mr. President.
40 INT. MONDOSHAWANS SPACESHIP - OMIT
41 INT. PRESIDENT'S OFFICE - OMIT
42 EXT. SPACE / INT. MONDOSHAWAN SHIP
The MONDOSHAWAN spaceship zips across the Federated Galaxy.
But it is not alone: Two black warships seem to be dogging it.
43 INT. MONDOSHAWAN COCKPIT
The MONDOSHAWANS have spotted the spacecraft chasing them.
FIRST OFFICER
Two non-identified ships approaching.
CAPTAIN
Must be the welcoming committee.
44 INT. WARSHIP COCKPIT
A MANGALORE sits at the controls of the warship. His terrifying features
tell us what sort of welcome they can expect. The pilot fires without
warning.
45 EXT. SPACE / INT. MONDOSHAWAN SHIP
The huge ship is badly hit and immediately swerves oft course.
Panic aboard the MONDOSHAWAN ship.
46 INT. MONDOSHAWAN SHIP
CAPTAIN
We've been hit! General alert!!!
Blast after blast hits the defenseless ship.
CAPTAIN
We're losing control! We have to land fast!
The huge ship veers oft course and heads for a small red planet, taking
hit after hit.
CAPTAIN
Send out a distress signal!!! Activate
the emergency landing procedure!
The huge ship approaches the planet at blinding speed.
FIRST OFFICER
Impact in less than ten seconds!
The red planet looms ever closer.
CAPTAIN
Time is of no importance...
The ship crashes in a gigantic explosion.
46A INT. KORBEN'S APARTMENT - DAY
A thermo nuclear explosion fills a T.V. screen..Which Korben's cat
watches with interest.
Korben is about to exit the apartment.
KORBEN
Don't watch it all day, it'll rot your
mind. Bye sweetie..
In response, the cat meows. Korben opens the door to..A huge
gun, brandished by a nervous MUGGER, pointing right in his face.
MUGGER
The cash man!
KORBEN
Been here long?
MUGGER
Don't fuck with me man or I'll blow
you into tomorrow!
Unperterbed, Korben looks at the mugger's fearsome weapon.
KORBEN
Isn't that a Z140? Alleviated titanium.
Neuro charged assault model?
MUGGER
(off balance)
Uh..
KORBEN
You know you could hurt someone with
this puppy..good thing it's not loaded..
The mugger is lost. He looks at his weapon.
MUGGER
It's not?
KORBEN
You gotta push the little yellow button...
Korben points to the button on the side of the gun. The mugger takes his
advice.
MUGGER
Thanks..
KORBEN
You're welcome..
And with lightning speed, Korben blasts the mugger with a straight right
hand, sending him down for the count. Korben retrieves the gun.
KORBEN
..you know these things are VERY illegal..
you could get in a shit load of trouble..
I better hang onto it for you..
As the mugger clears his head, Korben opens a drawer next to him which is
full of similar guns! The mugger's eyes pop out of his head. He scampers
to his feet and runs off.
Korben shrugs, exits his apartment, and closes the door. The cat watches
a nuclear holocaust on T.V., uninterrupted.
46B INT. KORBEN'S GARAGE - DAY
Korben enters his taxi. A robotic voice greets him.
VOICE
Please enter your license..
Korben complies, and starts to push a series of buttons on the dash.
VOICE
Welcome on board Mr. Dallas..
KORBEN
How you doing this morning? Sleep OK?
I didn't.
Korben hits a button. The garage door starts to open.
VOICE
Fuel level 6.03..Propulsion 2x4...
KORBEN
I had the worst goddamn nightmare.
VOICE
You have nine points left on your license..
KORBEN
Thanks for reminding me..
As the garage door lifts, the Megalopolis that is New York City in the
23rd century comes into view. Startling in it's height, and breath.
VOICE
Have a nice day..
Korben lets the propulsion build.
KORBEN
Right..
He lets the gear slip. The taxi rockets off into the City.
47 EXT. TAXI STAND - NIGHT - OMIT
48 EXT. RED PLANET-OMIT
49 INT. PRESIDENT'S OFFICE
Cornelius collapses in a chair.
CORNELIUS
We are lost!
GENERAL MUNRO
Mr. President, the attack was launched by two
unregistered warships.
PRESIDENT
Close all borders and declare a state of
general alert.
GENERAL MUNRO
Yes, sir.
PRESIDENT
(to another OFFICER)
Try to contact these Mondoshawans. We
owe them an explanation.
CORNELIUS
(lost, to himself)
What are we going to do?
PRESIDENT
This is government business now.
You ought to go home and get some
rest, Father.
The President motions to his guards to come and get Cornelius.
PRESIDENT
I promise to keep you informed.
A weary Cornelius leaves the room with David's help.
PRESIDENT
(to the CAPTAIN)
...Has the rescue team found any survivors?
50 EXT. RED PLANET - OMIT
51 EXT. RED PLANET ORBIT - OMIT
52 INT. LABORATORY 1ST DISTRICT MANHATTAN - DAWN
An arm, on a surgical cart, moves down the hall of the Nucleological
Center, the most sterile of environments.
PROFESSOR MACTILBURGH, age 60, hurries alongside GENERAL MUNRO.
MUNRO
This is all that survived?
MACTILBURGH
Actually only one cell survived..
MUNRO
Have you identified it?
MACTILBURGH
It's not that easy..we've never encountered
anything like it before..you see normal human
beings have 40 DNA memo groums..which is
more than enough for any species to perpetuate
itself..This one has 200,000.
MUNRO
Talk English Doc.
MACTILBURGH
This cell is like a huge library. It has infinite
genetic knowledge stored inside.
Almost like it was...engineered.
MUNRO
Sounds like a freak of nature to me.
MACTILBURGH
Yes... I can't wait to meet him.
They pass into the lab.
53 INT. LABORATORY
The two enter a cylindrical laboratory. There is a huge glass turbine in
the middle with the metal glove inside. A DNA chain scrolls on the computer
screen.
MACTILBURGH
(rather fascinated)
The compositional elements of his DNA
chain are the same as ours, there are simply
more of them tightly packed.
His knowledge is probably limitless..
MUNRO
(worried)
Is there any danger? Some kind of virus?
MACTILBURGH
We put it through the cellular hygiene detector.
The cell is for lack of a better word... perfect.
Munro hesitates a moment. Then he sighs and uses his personal key to
open the
self-destruct box.
MUNRO
OK, go ahead! But Mr. Perfect better be polite...
otherwise I turn him into cat food.
Mactilburgh starts the operation rolling as Munro puts his hand on the
sell-destruct button, ready to use it. Thousands of cells form in the
heart of the generator, an assemblage of DNA elements. Then the cells move
down a tube, like a fluid, and gather in an imprint of a HUMAN body. Step
by step bones are reconstructed, then the nervous and muscular systems.
Whole veins wrap around the muscles. An entire body is reconstructing before
our very eyes.
DOCTOR
Three seconds to ultra-violet protection.
A shield comes over the reconstructing body and makes it invisible.
MACTILBURGH
(to Munro)
...This is the crucial phase, The reconstruction
of pigment. Cells are bombarded with slightly
greasy solar atoms which forces the body cells
to react, to protect themselves.
That means growing skin. Clever, eh?
MUNRO
(disgusted)
Wonderful!
The meter slows, drops to zero.
ASSISTANT
... End of reconstruction, beginning of
reanimation .
A whoosh of air in the glass chamber. Captain Munro has his hand on the
self-destruct button, ready to destroy the being that has barely been
reborn.
MACTILBURGH
(pushing a button)
Activate life support system.
An electrical discharge fills the glass chamber causing the body inside
to jerk.
After a few moments of silence, the SOUND of a heartbeat fills the room
over the loudspeaker.
ASSISTANT
Life support system activated.
The Supreme Being is alive once again.
MACTILBURGH
Remove the shield.
The ASSISTANT automatically removes the ultra-violet shield which slowly
reveals... a woman... nude... young... and very beautiful. Munro stands there
gaping. Not quite his vision of the Supreme Being. Mactilburgh glances
at Munro and gently pushes his hand away from the self-destruct button.
MACTILBURGH
(with a smile)
I told you ... perfect!
Munro is hypnotized by the GIRL's beauty.
MUNRO
...I'd, uh , like to get a few pictures for the
archives
before she wakes up.
Mactilburgh looks at him with a grin. A remote-control camera approaches
the girl's face, a flash goes off. Blinded by the flash, the girl jumps and
screams. She cowers in a corner, shaking from the cold, darting eyes
everywhere looking for the case she was holding.
GIRL
(very angry)
Ouacra cocha o dayodomo binay ouacra
mo cocha ferji akba ligounai makta keratapla.
Tokemata tokemata! Seno santonoi-aypa!
Minoi ay Cheba! Givomana seno!
MUNRO
(worried)
What's she saying?
MACTILBURGH
(to his ASSISTANT)
Activate the phonic detector.
The girl kicks the window repeatedly.
MACTILBURGH
And give her a light sedative...
and something to wear!
The ASSISTANT hits a button. A pile of clothes drops out of a trapdoor
in the ceiling. She snatches up the clothes angrily and dresses quickly.
Munro draws closer to the glass window. He watches her dress with
undisguised pleasure.
MUNRO
(to Mactilburgh)
This thing solid?
MACTILBURGH
(smiling)
An elephant couldn't crack it.
The Girl finishes dressing.
GIRL
(angrily)
Teno akta chataman assin-omekta!
Munro smiles safely behind his plate glass window.
MUNRO
(with a smile)
You're gonna have to learn to communicate
better than that angel if you want out.
Munro dangles the key on a chain that will let her out. The girl rams
her fist right through the window. She grabs the key and yanks it. The
chain snaps tight and Munro slams into the window knocking himself out. The
girl puts her hand through the window again, unlocks the chamber and steps
out. She is still bit wobbly on her legs. Two GUARDS try to grab her.
She sends them flying across the room. Mactilburgh is most impressed. He
sets off a general alarm.
54 INT. CORRIDOR LABORATORY
The girl runs through a maze of corridors looking for a way out. A squad
of SECURITY GUARDS appear in front of her and open fire without warning. The
girl takes a leap, grabs an air vent, kicks it out and dives into the air
shaft. The COPS try and jump up to the vent, but none can reach it.
CHIEF
Get me a chair or a stepladder The rest of you
go through the main ventilation!
55 INT. VENTILATION DUCT LABORATORY
The girl moves along unable to see what's ahead of her. She comes to a
dead-end, a grill that leads outside. She pushes it out and exits onto
the ledge.
56 EXT. LEDGE LABORATORY - DAWN
She has exited to a ledge on the 450th floor of a building, right in the
middle of Manhattan, which we discover for the first time. The city has
become monstrous. Buildings rise 600 stories. Cars fly. Subways run
vertically...The girl edges along the narrow ledge, unfazed by the height.
The CHIEF leans out the vent, looking out into the void.
CHIEF
(to his men)
Go on follow her!
The COPS stare into the gaping void.
COP
...No way.
The CHIEF angrily pulls out his gun and shoots at the girl who ducks
around the corner of the building. Unfortunately the other side in full of
cops as well. A flying police car zooms up in front of her, sirens
blaring.
VOICE (O.S.)
This in the police. Your status is illegal.
Please put up your hands and follow our
instructions!
The girl feels trapped. She looks down into the endless 450 below and
all the cars flying underneath her. Then she raises her arms... and dives
off.
57 INT. POLICE CAR - NIGHT
COP
(in the car.)
Christ! She dove off!
In a panic, the COP makes a wrong turn. The girl falls for several
seconds.
She lands on the roof of a flying cab.
58 INT. CAB - NIGHT
Korben tries to control his car, reeling from the impact.
VOICE (O.S.)
You have just had an accident.
Seven points have been temporarily
removed...
Korben manages to stop his cab, pulls over to the side.
VOICE / KORBEN
You have one point left on your license.
Have a good day.
Korben sighs and looks in the back seat to see what the damages are. The
girl, a bit dazed (who wouldn't be), emerges from the debris and sits up.
There's some blood on her face. Korben is stunned. The girl's still alive
and... so beautiful. His heart heads for a meltdown.
GIRL
Akina delutan, nou-shan.
KORBEN
(lost)
...'Scuse me?
A police car with wailing sirens halts in front of Korben.
COP
(over a loudspeaker)
You have an unauthorized passenger in your
vehicle. We are going to arrest her.
Please leave your hands on the wheel.
Thank you for your cooperation.
KORBEN
(obeying)
Sorry, Hon, but I only got one point left
on my license and I gotta get to the garage!
The police car presses up against the cab. Doors slide open. Huge guns
point at her. Korben feels lousy. The girl's helpless, there are tears in
her eyes, she looks exhausted.
Korben glances at her in the rear view mirror. She's looking all around
to find something to help her communicate with him.
Her POV: an ad on the back of the seat. An 800 number to help an
orphanage. A teary photo of a kid over the words Please Help. She shoots
to Korben a look of pure distress.
GIRL
(irresistible)
Please... HELP...
Korben can't resist her plea.
KORBEN
Don't put me in this position...
I can't... I'm late as it is...
But he cannot say no to her eyes.
KORBEN
Finger's gonna kill me.
Korben shuts oft the meter and floors it, sideswiping the police car as
he roars away.
VOICE (O.S.)
Your license has been revoked.
Would you please....
Korben whips out a gun and shatters the loudspeaker.
KORBEN
I hate when people cry...
I got no defense...
The police car takes out after him, sirens screeching. An insane chase
ensues.
59 INT. NEW YORK STREETS - DAY
Korben and his flying taxi are absolute masters of the air. The cops
have trouble following him but then another cop car comes to join in the
fun. Korben drives like a man possessed, nothing can stop him. Except the
dead-end he's just come up against.
GIRL
Daya deo dono Dato. Dalutan!
KORBEN
It there's one thing I don't need advice on,
it's how to drive.
Korben turns his cab sideways and scrapes through a narrow passageway,
ripping his taxi light from the roof. The police car smashes into the
wall. The other one brakes just in time.
COP
Shit! Attention all-patrol cars!
The car makes a U-turn, looking for a wider passageway.
60 EXT. NEW YORK STREET
The police car roars up, sirens screaming then slows down and checks out
a dead-end flanked by a large vertical neon billboard. The dead-end is empty .
Korben's cab is hidden vertically behind the billboard. Seeing nothing, the
police drive away.
KORBEN
We'll wait till things quiet down a bit.
You mind?
The girl grabs his shirt collar and pulls him close, whispers in his ear.
GIRL
(weak)
...Priest...
KORBEN
You're not that bad... Come on we'll
get you to a doctor.
The girl hands him the handle of the case, struck with the three Egyptian
suns.
GIRL
(weak)
Vito... Cor... Ni-lious... Priest...
KORBEN
Vito Cornelius?
The girl nods, then faints. Korben is somewhat lost faced with so much
mystery.
61 INT. CORNELIUS' APARTMENT - DAY
The door opens. Korben is there with the unconscious girl in his arms.
KORBEN
(embarrassed)
Excuse me, I'm looking for a priest.
CORNELIUS
(tired)
Weddings are one floor down.
Congratulations.
Cornelius closes the door. The doorbell RINGS again.
KORBEN
She's not my bride, she's my fare.
She's looking for this Vito Cornelius.
According to the phone guide he lives here.
CORNELIUS
(curious)
That's me. But I don't know who she is...
where did you find her?
KORBEN
She dropped in on me... holding this.
Korben hands him the metal handle with the three Egyptian suns, stamped
on it.
CORNELIUS
(staggered)
The fifth element.
He faints dead away. Korben, with the girl still in his arms looks
around helpless.
KORBEN
(sighing)
Finger's gonna kill me...
62 INT. CORNELIUS' APARTMENT - DAY
In his armchair, Cornelius gets woken by a slap in the face.
CORNELIUS
(with a start)
Who are you?
KORBEN
I brought the girl remember?
CORNELIUS
The girl?
Cornalius gets up. He looks at the handle.
KORBEN
Yeah! She dropped in on me. I mean
on my taxi... talking... this... this bizarre
language...
And then it dawns on Cornelius who the girl is.
CORNELIUS
(eyes riveted on her)
He's a she!
KORBEN
(bemused)
You noticed...
CORNELIUS
(face shining)
There's not a moment to lose! Wake her up,
but be gentle about it! This woman is mankind's
most precious possession! She is... perfect!
KORBEN
So you do know her.
CORNELIUS
Uh yes, we're cousins..distant cousins..
Cornelius runs into the next room. Korben looks at the girl, goes to
slap her, then changes his mind.
Her beauty troubles him. He hesitates, then, gently caresses her cheek.
Her skin seems so soft, so fragile.
KORBEN
Perfect...
63 INT. SMALL ROOM
David, is mending a cassock when Cornelius bursts into the room out of
breath.
CORNELIUS
It's a miracle!!!
DAVID
(worried)
What is?
CORNELIUS
(babbling crazily)
I can't wear these clothes! This calls
for dignity!
I have to dress the part!
He opens a closet filled with identical robes and plunges in,
disappearing as David looks on, uncomprehending.
64 INT LIVING ROOM. CORNELIUS' APARTMENT
Korben gently kisses the girl's cheeks, but she doesn't respond. He
looks around then kisses her on the lips. The girl's eyes snap open.
When Korben straightens up he discovers his own gun jammed under his
chin.
GIRL
(angry)
Eto Akta Gamat!
KORBEN
(embarrassed)
I'm sorry, it's just that... I was
told to wake you up gently, so I figured...
The girl pauses a moment. She stares at him, looks puzzled.
KORBEN
You're right, I was wrong! I shouldn't
have kissed you... especially since we
haven't been introduced and...
(he pulls out a business card)
Here, it's a bit late, but... my name is
Korben, Korben Dallas.
Keep it, you never know, maybe... you'll
need a cab one day. I'll be happy to open
the door this time!.
The girl hesitates, then snatches the card like a wild animal.
65 INT. SMALL ROOM
Cornelius is lost in the closet.
DAVID
Father, will you please explain what's
going on?
CORNELIUS
The Supreme Being, the fifth element is here,
in our parish!!! It's a miracle!!!
66 INT. LIVING ROOM
KORBEN
...What's your name?
GIRL
(after a moment)
Leeloo Minai Lekarariba-Laminai-Tchai
Ekbat De Sebat.
KORBEN
(polite)
Hey, that's... cute... Do you have a nickname,
something a little... shorter?
GIRL
...Leeloo.
Korben is falling in love.
KORBEN
That's... really cute...
Cornelius bursts into the room. She turns the gun on him.
He bows before her.
CORNELIUS
Appipulai Leeloo Minai..
LEELOO
Corn-i-Lius?
CORNELIUS
(bowing)
At your service.
LEELOO lowers her guard starts to laugh. An irresistible childish laugh.
Korben smiles.
DAVID
Father. You sure she's the Supreme Being?
CORNELIUS
Absolutely sure There's the triple suns on
her gloves!
David bows low, but his eyes glance up at Leeloo. Cornelius begins to
lead Korben toward the door, hustling him out.
KORBEN
They all like this in your family, father?
CORNELIUS
She's an exception..
CORNELIUS
Thank you so much for your help Mr...?
KORBEN
Dallas. Korben Dallas.
Cornelius takes his arm. Leeloo stops laughing when she sees Korben
leaving.
CORNELIUS
Yes. That's fine! Thank you very much.
A thousand times over!
KORBEN
I might call to check up on her,
you know... to see if she's better?
CORNELIUS
She's fine, really..don't you worry..
just needs some rest..she's had a very long trip.
KORBEN
I know. I was there when she arrived.
Cornelius is about to close the door. Korben's hand blocks it.
KORBEN
Excuse me! Just one thing! She said something
to me a while ago and... I don't really get it...
Akta Gamat?
CORNELIUS
It means, "Never without my permission".
KORBEN
That's what I thought.
Cornelius slams the door in his face.
KORBEN
...Thanks.
66A INT. KORBEN'S APARTMENT - DAY
Korben beads down the hallway. He passes his NEIGHBOR.
KORBEN
Evening...
NEIGHBOR
Fuck you!
KORBEN
...Thanks... You, too.
Korben enters his-apartment.
66B INT.. KORBEN'S APARTMENT - DAY
The door slides back and the cat comes rubbing up against him, tail in
the air.
KORBEN
Oh god. I forgot your food ... I'm really sorry!
How about a nice Thai nosh to apologize?
How does that sound, huh?
The cat meows, appeased, just an the phone rings.
KORBEN
Hello?
FINGER (V.O.)
Hey bud...I'm waiting all day here.
KORBEN
Finger..man..I'm sorry..listen..I was on the way
over but I had a fare fall into my lap..
y'know one of those big fares you just
can't resist..
FINGER (V.O.)
(suspicious)
So, just how big was this fare?
KORBEN
5'7", green eyes... long legs... great skin...
perfect..
Korben takes out a cigarette.
FINGER (V.O.)
Uh huh..and I don't suppose you got the
name of this..perfect fare..
KORBEN
(dreamy)
Leeloo..
67 INT. GARAGE - DAY - OMIT
68 INT. CORNELIUS' APARTMENT - DAY
Leeloo has a towel wrapped around her, it looks like she just took a
shower. She sits in front of a computer wolfing down some chicken. Data
scrolls by on the screen. David watches from the corner, in awe.
DAVID
What's she doing?
CORNELIUS
Learning our history!
The last 5000 years that she missed!
She's been out of circulation a while,
you know.
Leeloo breaks into her childish laughter.
CORNELIUS
What're you laughing about?
LEELOO
(pronouncing badly)
Napoleon... small.
She laughs again and tosses some capsules into the microwave.
DAVID
(hesitant)
Uh father, I know she's been through a lot...
but the sacred stones..we don't have much
time..
CORNELIUS
Yes. Of course..
Leeloo takes her plate out of the microwave. A steaming plate heaped
with chicken and exotic vegetables.
CORNELIUS
Leeloo..I'm sorry to interrupt you but..
She sits back down in front of the screen and chomps away heavily on her
second chicken. Cornelius sits opposite her. and holds up the case
handle.
CORNELIUS
(serious)
The case..with the stones...
Where is it?
LEELOO
San Agamat chay bet... envolet!
CORNELIUS
The case was stolen?
Leeloo nods her head, quite unperturbed and continues to devour the food
in front of her.
CORNELIUS
(shocked)
Who in gods name would do such
a thing?
69 INT. CORRIDOR. ZORG'S WAREHOUSE - DAY
CLOSE ON: A pair of feet limping heavily. A MAN comes alongside them.
RIGHT ARM
Excuse me sir, the council is worried about
the economy heating up. They wondered if
it would be possible to fire 500...
They reach a door at the end of the corridor. Zorg enters a code.
ZORG
Fire 1000.
RIGHT ARM
But... 500 is all they need, sir.
ZORG turns slowly. A small scar across run across his face, his eye
stutters.
This is not a man to cross, or contradict.
RIGHT ARM
1000! Fine, sir!
Sorry to have disturbed you.
The door opens...
70 INT. CORNELIUS' APARTMENT - DAY
... and David enters carrying a bundle of clothes.
CORNELIUS
There was this guy with a limp who
came a month ago..said he was an art
dealer ... Asking all these questions about
the Sacred Stones..at the time I didn't think
anything of it.. What was his name? I'm so
bad with names...
DAVID
(to Leeloo, timid)
I didn't know your size.
Leeloo is happy. She pulls off the towel and stands there nude. Cornelius
and David turn away.
DAVID
They really made her...
CORNELIUS
Perfect.
Leeloo finishes dressing. She is delighted.
LEELOO
(to David)
Domo danko!
David smiles, dumb with admiration. Cornelius comes over.
CORNELIUS
Leeloo? The Stones...
We must get them back.
Leeloo settles down, sits at the computer and turns it on.
LEELOO
Ikset-kiba. Me imanetaba oum dalat!
CORNELIUS
You know exactly where they are!
71 INT. WAREHOUSE - DAY
A group of handsome WARRIORS approaches. AKNOT, their leader has the
sacred case in his hands. The metal handle is missing but the second
metal glove is still grasping the case.
ZORG
(pretending to be worried)
Aknot? Is that you?
The LEADER nods. A disgusted look stamps Zorg's features.
ZORG
...What an ugly face! Doesn't suit you at all!
Take it off...
AKNOT's face burns away revealing the head of a monstrous MANGALORE.
ZORG
That's better! Never be ashamed of
who you are...
You're warriors... be proud...
AKNOT says nothing, but if his eyes could talk!
ZORG
So what if the Federal Army crushed your
entire race and scattered your people to the
wind...
Your time for revenge is at hand...
Voila... the ZF1.
He takes out a weapon from one a crate and goes into a sales pitch.
ZORG
(very fast)
...It's light... the handle's adjustable for
easy carrying... good for righties and lefties.
Meanwhile, two MEN set up a mannequin rigged with various defense
mechanisms at the far end of the warehouse.
ZORG
... Breaks down into four parts, undetectable by
X-rays.. It's the ideal weapon for quick, discreet
interventions. A word on fire power: Titanium
recharger. 3000 round clip with bursts of 3 to 300.
With the replay button, another Zorg innovation,
it's even easier... one shot.
He fires at the mannequin.
ZORG
... and replay sends every following shot
to the same location...
Zorg spins around, the rounds all hit the mannequin.
ZORG
(even faster)
I recharge, but the enemy has launched a
cowardly sneak attack from behind, the
automirror takes care of that. Gives me the
time to turn around and finish the job.
300 round bursts, then there are the Zorg oldies...
He fires off each item he names.
ZORG
...Rocket launcher. The always efficient
flame thrower... My favorite.
Our famous net launcher, the arrow launcher,
with exploding or poisonous gas heads - very
practical.
And for the grand finale, the all-new ice-cube
system!
The mannequin has been blasted into a pile of ashes covered by a net,.
stuck with arrows, the whole mess frozen solid. He tosses the weapon into
AKNOT's hands.
ZORG
...Four full crates, delivered right on time!
What about you, my dear Aknot, did
you bring me what I asked you for?
AKNOT sets the case on a crate. Zorg gloats while stroking the case.
ZORG
...Magnificent.
Zorg smiles, takes a deep breath, opens the case. It's empty
72 INT. CORNELIUS' APARTMENT - DAY
Leeloo breaks into her childish laughter once again.
CORNELIUS
(astonished)
What do you mean empty?
73 INT. ZORG'S WAREHOUSE - DAY
AKNOT looks into the case. Things grow tense.
ZORG
Alright..I've got an open mind here..
anyone care to explain?
74 INT. CORNELIUS' APARTMENT - DAY
Leeloo explains what happened in her language.
CORNELIUS
(translating)
She says that the Guardians never really had
much faith in humans. They were afraid of
being attacked. The stones were given to someone
they could trust who took another route.
She's supposed to contact this person in a little less
than twelve hours from now in a hotel.
She's looking for the address!
A map of the stars flashes onto the screen, Leeloo points.
LEELOO
Dot!
The little group comes over to look.
DAVID
Planet Fhloston, in the Angel constellation
Cornelius plops down into his armchair.
CORNELIUS
...We're saved!
75 INT. ZORG'S WAREHOUSE - DAY
ZORG
I'm fucked!
Zorg calmly closes the case and gives Aknot a blood-chilling stare.
AKNOT
You asked for a case.
We brought you a case.
ZORG
(shouting)
A case with four stones in it. Not one!
Not two or three! But four!!! Four stones!!!
What the fuck am I supposed to do with an
EMPTY case?!!
AKNOT's men grow edgy.
AKNOT
(tense)
...We are warriors, not merchants!
ZORG
(humored)
But you can still count. Look...
my fingers.
He holds up four fingers.
ZORG
...Four stones, four crates... Zero stones...
(yelling)
ZERO CRATES!!!
(to his men)
Put everything back, we're outta here.
AKNOT's warriors turn their weapons on Zorg.
AKNOT
(icily)
We risked our lives. I believe a
little compensation is in order.
ZORG
(smiling)
So, you are a merchant, after all.
(to his men)
Leave them one crate. For the cause!
Zorg's men leave a crate and exit with the other three.
76 EXT. OUTSIDE ZORG'S WAREHOUSE - DAY
Zorg walks along the street to his limo. RIGHT ARM carries the empty
case.
ZORG
I don't like warriors! They're too
narrow-minded, no sublety. Worse,
they fight for hopeless causes..for honor!
Honor has killed millions of people but
hasn't saved a single one.
(pause)
You know what -- do I like though, I like killer.
A real dyed in the wool killer. Cold-blooded.
Clean. Methodical. Thorough. A killer, when
he picked up the ZF1, would've immediately
asked about the little red button on the bottom of
the gun.
77 INT. HALLWAY ZORG'S WAREHOUSE - DAY
The warriors have all taken a weapon. One of them inspects his ZF1. He
turns it over and notices the little red button. He presses it.
78 EXT. OUTSIDE ZORG'S WAREHOUSE - DAY
Behind Zorg, an ear-shattering explosion levels the warehouse.
ZORG
(impassive)
Bring the priest.
79 INT. GARAGE - DAY - OMIT
79A INT. KORBEN'S APARTMENT - DAY
Korben is finishing a Thai meal, cooked by a Thai on his mini restaurant
anchored at the window. The cat eats next to Korben, contented.
KORBEN
So you forgive me?
The cat meows just as a red light blinks, announcing the arrival of a
message in a glass tube. Korben ignores it.
THAI
Not going to open?
KORBEN
I've never gotten a message that wasn't
bad news.
THAI
How someone strong like you scared from
a message? Is good news I sure!
KORBEN
The last two messages I got? The first one
was from my wife telling me she was leaving!
And the second was from my lawyer telling me
he was leaving too... with my wife.
THAI
You right that is bad.. but mathematically
luck must change!
Grandfather say: "It never rain every day."
This is good news guarantee.. I bet you lunch!
Korben hesitates, then gives the envelope to the Thai, who opens it with
a big smile that fades as reads the contents aloud.
THAI
...You're fired. Oh!
Korben smiles at him.
KORBEN
At least I won lunch.
THAI
Good philosophy..see good in bad..
I like..I prepare number one dessert..
special for you and pussy..
The cat meows.
79B INT. CORNELIUS' APARTMENT - DAY
Leeloo is polishing of' an immense pile of dessert as David bangs away at
the computer.
DAVID
I got it! Everything here we need to
know about Fhloston Paradise Hotel...
and a detailed blueprint of the entire hotel!
CORNELIUS
Good work, my son. Now all we need is
a way to get there.
The doorbell rings.
CORNELIUS
I'll get it. Finish your work my son.
Cornelius opens to Right Arm with armed escort.
RIGHT ARM
Father Cornelius?
CORNELIUS
My son?
RIGHT ARM
Mr. Zorg would like a word with you.
CORNELIUS
Mr. Who?
80 EXT. MANHATTAN - OMIT
81 INT. HALLWAY CORNELIUS APARTMENT - OMIT
82 INT. REFRIGERATION ROOM - OMIT
83 INT. ZORG'S OFFICE
Zorg turns to Cornelius.
ZORG
Zorg. Jean-Baptiste Emmanuel Zorg...
nice to see you again
CORNELIUS
I remember you now..the so called
art dealer.
ZORG
I'm glad you got your memory back, Father...
Because you're going to need it...
Where are the stones?
CORNELIUS
...Why on earth do the stones interest you?
ZORG
Personally, they are of no interest to me,
I'd rather sell weapons..but I have a customer...
so tell me...
CORNELIUS
Even it I did know where the stones were
I would never tell somebody like you.
ZORG
Why? What's wrong with me?
CORNELIUS
...I'm a priest! I'm here to serve life,
All you want to do is destroy it.
ZORG
Ah, Father... You are so wrong.
Let me explain...
Zorg leads Cornelius into his inner office.
ZORG
...would you like a drink?
CORNELIUS
No thank you.
ZORG
Follow me.. Life, which you so nobly serve,
comes from destruction. Look at this empty
glass.
Zorg pushes the glass with his finger.
ZORG
Here it is... peaceful... serene...
but if it is...
Zorg pushes the glass off the table. It shatters on the floor.
ZORG
Destroyed...
Small individual robots, both free-wheeling and integrated, come zipping
out to clean up the mess.
ZORG
...Look at all these little things...
so busy all of a sudden.
Notice how each one is useful.
What a lovely ballet, so full of form
and color. So full of..life!
CORNELIUS
They are robots!
A SERVANT comes in pours water in another glass. Zorg tosses a cherry
into it.
ZORG
Yes but... by that simple gesture of destruction.
I gave work to at least fifty people today. The
engineers, the technicians, the mechanics. Fifty
people who will be able to feed their children so
they can grow up big and strong. Children who
will have children of their own, adding to the great
cycle of life!
Cornelius sits in silence.
ZORG
Father, by creating a little destruction,
I am, in fact, encouraging life! So, in
reality, you and I are in the same business!
CORNELIUS
Destroying a glass is one thing..killing people
with the weapons you produce is quite another.
ZORG
Let me reassure you Father..I will never kill
more people in my entire life than religion has
killed in the last 2000 years.
Zorg smiles, holds up the glass and takes a drink.
Unfortunately, he chokes on the cherry. Unable to breathe, Zorg starts
to panic.
CORNELIUS
(mocking)
Where's the robot to pat your back?
Zorg falls, writhing, on his desk, inadvertently hitting buttons which
trigger a slew of little mechanisms. They pop out all over the desk.
True chaos reigns. Even a cage appears, holding a Souliman Aktapan, a fat
multicolored beastie, PICASSO, who seems surprised to be out in daylight. He
licks his half-dead master in thanks. Cornelius gets up and walks around
the desk. Zorg motions for help.
CORNELIUS
Can I give you a hand?
Cornelius whacks him on the back. The cherry comes flying out. Zorg
regains control of himself. GUARDS come running in.
ZORG
You saved my life... So, I'm going
to spare yours.
(to the GUARDS)
Throw him out!
The GUARDS throw Cornelius out.
CORNELIUS
You are a monster, Zorg!
ZORG
(complimented)
I know...
The GUARDS drag Cornelius out of the office.
ZORG
...Torture whoever you want, the
president if you have to but I want
those Stones. You have an hour.
Right Arm salutes and hurries out of the office.
84 EXT. MANHATTAN STREET - OMIT
85 INT. ZORG'S OFFICE - OMIT
86 INT./EXT. STREET / TAXI - OMIT
87 INT. REFRIGERATION ROOM - OMIT
88 INT. ZORG'S OFFICE - DAY - OMIT
89 INT. HALLWAY - OMIT
90 INT. REFRIGERATION ROOM - OMIT
91 INT. TAXI - OMIT
92 INT. ROOM - DAY - OMIT
93 INT. TAXI - OMIT
94 INT. ROOM - DAY - OMIT
95 INT. TAXI - OMIT
96 INT. SHAFT - OMIT
97 INT. GARAGE - OMIT
98 INT. ZORG'S OFFICE - OMIT
99 INT. GARAGE - OMIT
100 INT. LOCKER ROOM GARAGE - OMIT
101 INT. GARAGE - OMIT
102 INT. LOCKER ROOM GARAGE - OMIT
103 INT. KORBEN'S BUILDING - DAY - OMIT
104 INT. KORBEN'S APARTMENT - OMIT
105 EXT. / INT. SPACE / SPACESHIP
...The dark planet. Three warships are positioned in front of it.
Communication satellites arrive from all over the place, drawn to it like
a magnet.
CAPTAIN
(observing)
It's gobbling up all the communication
satellites in the galaxy!
106 INT. PRESIDENT'S OFFICE
President Lindberg appears even more crushed by recent events.
PRESIDENT
Why the hell is it eating up all those
satellites like that?
HEAD SCIENTIST
(desperate)
...We're working on it, Mr. President.
We're working on it.
PRESIDENT
It should only choke on them.
MUNRO enters the office just as a cockroach crawls onto the desk.
There's a small antenna on its back.
107 INT. SMALL ROOM
Zorg's Right Arm wears earphones, monitoring the President's conversation
with the cockroach-spy.
108 INT. PRESIDENT'S OFFICE / SMALL ROOM
MUNRO
I managed to contact the Mondoshawan.
They deplore the incident, but accept our
apologies.
PRESIDENT
(relieved)
And the Stones? Did you find them in the
wreckage?
MUNRO
The-Stones weren't aboard the ship.
PRESIDENT
(surprised)
...What do you mean?
The President is all ears.
So is Zorg's Right Arm.
MUNRO
The Mondoshawan never fully trusted the
human race..they felt we're too unpredictable..
so they gave up the Stones to somebody they
do trust. Her name is Plavalaguna. She's a Diva
and she's going to sing at the charity ball on
Fhloston Paradise in a few hours. She has the
Stones with her.
The President breathes easier.
Zorg's Right Arm is delighted.
PRESIDENT
(taking off a shoe)
Excellent!
The President crushes the cockroach with his shoe.
Right Arm's earphones fly off his head. Good-bye eardrums.
109 INT. PRESIDENT'S OFFICE
PRESIDENT
I want your best man on this!
MUNRO
Don't worry, Sir. I have the perfect one.
110 INT. KORBEN'S APARTMENT - DAY
C.U. The most disgusting dessert ever made. Korben looks at it shimmying
on a plate as the Thai serves it to him proudly.
THAI
Stewed jellyfish cake.. my speciality..
Korben forces a weak, polite smile as the Thai looks on expectantly. The
phone rings.
KORBEN
Saved by the bell.
Korben rises to get his cigarettes, and answer the phone.
KORBEN
...Hello?
MOTHER (V.O.)
You're the nastiest dirtbag I know in
this stinking City!
KORBEN
(resigned)
Hi Ma...
MOTHER (V.O.)
I've been playing twice a week for 20 years,
20 years I've been eating those shitty croquettes.
Korben goes to light his cigarette. There are only two matches left in
the match box.
Korben strikes one and it fizzles.
MOTHER (V.O.)
You wouldn't even eat one to help your
poor mother, and you win the big prize?
Know something? The whole thing makes
me sick!
The Thai starts to clean up. Just as Korben goes to strike the second
match..
MOTHER (V.O.)
Are you listening to me, you ingrate!
KORBEN
(resigned)
Yes ma..
Korben sighs and puts the match back in the box.
Korben enters his code on the keypad the Thai is holding.
KORBEN
(to the Thai)
Go on... This is gonna take a while!
The Thai casts oft. Korben closes the window.
KORBEN
Other than that... You all right?
MOTHER (V.O.)
...And now you're making fun of me?
I'm warning you! If you don't take me
after all these years of sacrifice, I'll
never forgive you!!
The Thai flies off. In the hall, the cat meows-for more food.
KORBEN
(to the cat)
I'm coming!. Ma, what're you talking
about?
MOTHER (V.O.)
I get it! You want to make me beg,
is that it?
KORBEN
All I want is an explanation! I just got
in, I lost my job. I smashed my cab.
I got mugged, but other than that
everything's peachy, Ma, thanks for asking!!
Now settle down and explain to me calmly..
A message drops in his tube. The red light goes on.
MOTHER (V.O.)
You just won a trip, you dolt!
Ten days in Fhloston Paradise for two!
KORBEN
Ma. If I'd won, I'd know about it.
Someone would have notified me.
MOTHER (V.O.)
They've been blaring out your name on
the radio for the last hour, blockhead!
He eyeballs the message still in the tube. The doorbell rings.-
KORBEN
Ma.. it's the door. I'll call you back.
Korben hangs up before his mother can say anything and heads for the
door. Before he gets there it opens, General Munro enters followed by a
Captain and a Major.
MAJOR ICEBORG is a woman. All she needs to become a man is a mustache.
Munro opens a file.
MUNRO
(clipped)
Major Dallas, if our calculations are correct
you still have 57 hours owed to the Federal
Army on your enlistment which is more than
you will need for a mission of the utmost
importance.
KORBEN
What mission?
MUNRO
To save the world.
KORBEN
Where have I heard this song before?
MUNRO
You're to leave immediately for Fhloston
Paradise. Retrieve four Stones from the
Diva Plavalaguna. And bring them back with
the utmost discretion as possible.
Any questions'?
KORBEN
(a little bewildered)
Just one... why me?
MUNRO
Three reasons... One: As part of The Elite
Special Forces Unit of the Federated Army
you are an expert in the use of all weapons
and spacecraft needed for this mission.
Munro pulls out a long list of documents.
MUNRO
Two: Of all the members of your unit
you were the most highly decorated.
KORBEN
And the third one?
MUNRO
You're the only one left alive...
Munro removes the message Korben hasn't bothered to look at.
MUNRO
Don't you open your messages?
KORBEN
I've had enough good news for today
MUNRO
(by rote)
You have won the annual Gemini contest
and a trip to Fhloston Paradise. For two.
Congratulations.
Here are your tickets.
He hands Korben the tickets. Korben gets it.
KORBEN
You rigged the contest?
Munro nods.
MUNRO
Major Iceborg will accompany you...
as your wife...
The idea of taking a trip with Iceborg makes him sick.
KORBEN
(sarcastic)
You couldn't come up with something
a little more discreet?
MUNRO
Old tricks are the best tricks eh?
KORBEN
I'm not going.
MUNRO
Why not?
KORBEN
One reason... I want to stay the only
one left alive.
110A INT. KORBEN'S HALL
Leeloo and Cornelius search for Korben's apartment. Leeloo carries the
card Korben gave her. Cornelius finds the apartment, and yanks the.
number off the door. He waves Leeloo over as his hand goes to the bell.
110B INT. KORBEN'S APARTMENT
The doorbell rings.
KORBEN
...Scuse me.
Korben goes to the door and looks out the peephole: the beautiful Leeloo.
Korben panics, overcome with happiness.
KORBEN
...Shit!
MUNRO
(worried)
What is it?
Korben has two seconds to make up something to get rid of Munro.
KORBEN
It's my wife.
MUNRO
I thought you were divorced.
KORBEN
I mean my future.. my ex.. My future ex..
if she sees you here I'm finished. She hates
you guys. It's what killed us in the first place.
Please...
He puts them in the fridge, shoving the jellyfish cake in Iceborg's
hands.
KORBEN
...Sorry, General, but we've got no choice!
It'll only take a minute! Let me set up
another meeting and I'll be back.
MUNRO
Three of us will never fit in there!
KORBEN
(pushing him)
Oh, yes you will...
Korben slams the fridge door. The doorbell RINGS again.
KORBEN
...Coming!
He whips through his place in ten seconds, gathers up things laying
about,
shuts drawers, rolls up his laundry in the folding bed. He brushes his
hair back
and opens the door with a big smile only to discover a gun stuck between
his
eyes held by Cornelius.
LEELOO
Apipoulai!
KORBEN
I suppose that means "Hi" ?
CORNELIUS
I'm sorry to have to resort to such
methods, but we heard about your
good luck on he radio and we need
the tickets to Fhloston.
KORBEN
Is that the usual way priests go on
vacation?
CORNELIUS
We're not going on vacation..we're
on a mission..
KORBEN
What kind of mission?
CORNELIUS
(sincere)
We have to save the world.
KORBEN
(skeptical)
Good luck..
CORNELIUS
Of course.
KORBEN
Father, I was in the Army for awhile
and every time they told us we were
on a mission to save the world the
only thing that changed was I lost a
lot of friends. So thanks for the offer..
but no thanks.
Cornelius is disappointed. Leeloo looks crestfallen.
KORBEN
I'm sorry..
VOICE
This is a police control action..
Everyone freezes as the whole building resounds with the electronic
voice.
111 INT. LANDING KORBEN'S BUILDING
A group of POLICEMEN bursts into the hallway. One of the cops enters a
code on the police wall box. A device descends from the ceiling, a
flashing light-siren,
a VOICE fills the air.
VOICE
This is not an exercise.
This is a police control.
Cornelius starts to panic. Korben takes charge.
CORNELIUS
Oh my god oh my god..
Korben pushes a button sending the fridge to the next floor. A shower
takes it's place.
KORBEN
Leeloo, hide in here and don't move!
Leeloo hops in. Korben tosses Cornelius on the bed.
CORNELIUS
What are you doing?
KORBEN
Trying to save your ass so you can
save the world.
..and hits a button on the wall. The bed disappears into the wall.
Korben grabs his tickets and slides them in his belt.
112 INT. LANDING KORBEN'S BUILDING - DAY
Meanwhile, the automatic police voice continues.
VOICE
...Spread your legs and place your
hands in the yellow circles, please.
A COP slaps a viewer device on Korben's door which makes part of it
transparent.
COP 1
Put your hands in the yellow circles,
please.
Korben takes his time hiding his face. The Cop looks at his sheet. He's
looking for
a... KORBEN DALLAS. He has his picture, but it is Korben with long hair
and beard.
COP 1
(to COP 2)
Sir? Are you a human?
KORBEN
No, I'm a meat popsicle.
COP 3
(at the other end of the hall)
I found him!
C.U. Korben's calling card is clumsily stuck to the door of the
neighbor's apartment. COP 3 slaps the viewer on the nasty neighbor's door.
The neighbor is at his sink shaving instead of against the wall, COP 1
arrives with Korben's picture.
COP 1
Sir, this is a control. Please put your
hands in the yellow circles.
The neighbor steps right up to the viewer, shaving cream on his face. He
could pass for Korben.
NEIGHBOR
Fuck you!!
113 INT. KORBEN'S APARTMENT
Korben still has his hands to the wall.
KORBEN
Wrong answer.
SHOT O.S. EXPLOSION. Scuffle.
114 INT. HALL
The riot police hustle down the hall dragging the neighbor behind them in
a canvas bag. A cop is on the wall phone.
COP
OK, we got the guy under wraps.
115 INT. ZORG'S OFFICE
Right Arm is on the phone, facing Zorg.
COP (O.S.)
It was not easy, but we bagged him!.
Thanks for the tip!
RIGHT ARM
(smiling)
Glad to help.
He hangs up.
RIGHT ARM
They just arrested the guy for Uranium
smuggling. Everything's going as planned.
He shows him a plane ticket, and a passport with his picture and Korben's
name.
RIGHT ARM
All I have to do now is to go to the
airport and take his place. I should be
in Fhloston in less than four hours.
Zorg sits there quietly for a moment.
ZORG
Don't come back without the Stones.
116 INT. KORBEN'S APARTMENT
Korben opens the shower door. Leeloo is soaking wet, her teeth
chattering from the cold.
KORBEN
I'm really sorry.. there wasn't time.
His eyes fall on an old blanket.
KORBEN
Here let me wrap you up.
Korben wraps her in an blanket and vigoroualy rubs her back. Leeloo
warms gradually and snuggles closer to that warm comfortable shoulder.
Korben's rubbing slows, looking more like caresses.
KORBEN
..It's funny. I've met you twice today and
you've ended up in my arms both times.
Leeloo suddenly realizes that she has maybe gone a bit too far.
She recovers, looking embarrassed too.
LEELOO
(nicely)
Valo massa... Chacha hamas.
KORBEN
Uh..you're welcome.
The intimacy makes him nervous. He looks for a diversion.
KORBEN
Coffee! That's what you need!
A nice, hot cup of coffee!
He pushes a button on the coffee machine.
KORBEN
With some honey! You'll see, honey's
great!...
Korben rummages through the drawer. Leeloo, innocent, doesn't seem to
quite understand everything that is going on.
KORBEN
A hot cup of coffee... with honey...
He rummages through the cupboard, exceedingly nervous. Leeloo smiles and
begins to look around. She opens a drawer and comes upon..
KORBEN
(nervously)
I've got this great honey somewhere.
You know about honey? There used to be
these little animals who made it with antenna...
..pictures of Major Korben Dallas War Hero.
KORBEN
..and these other animals who ate it..
one were bees the other were bears..
She looks back to the man fumbling for honey.
KORBEN
I forget which ate it and which made it
but..
And she smiles.
KORBEN
Here it is!
Korben holds up the jar of honey.
KORBEN
Taste this...
Leeloo innocently sticks his finger in the jar then puts it in her mouth.
KORBEN
It... melts in your mouth, doesn't it?
She savors the honey, slowly; sensually. Her lips shine with honey. Her
eyes narrow with pleasure. Korben is hypnotized by her lips, like a moth
attracted to a flame. He begins to lose control, which makes him nervous.
An indistinct sound comes from the wall. But Korben is so entranced with
the sight of Leeloo licking her honied fingers, he doesn't hear it until
it becomes quite a racket.
KORBEN
You hear that?
LEELOO
(licking)
Cornelius..
KORBEN
Oh god!
Korben pushes the button on the wall. The bed pops out, fully made, with
Cornelius tucked in it, struggling to get out.
KORBEN
I'm really sorry.. let me help you..
Korben begins to pull at the covers when..
LEELOO
Achta ge lumitai de matala..
Korben turns..
KORBEN
What?
He turns to Leeloo struggling out of her wet clothes. His breath is taken
away by the sight of her perfect body.
Cornelius whacks him heavily on the head with a lamp. Korben drops to
the floor.
LEELOO
(displeased)
Vano da, mechteba?!
Soun domo kala chon hammas!
CORNELIUS
No, I'm not proud of myself...
But we don't have the luxury of choice.
117 INT. ENTRANCE KORBEN'S BUILDING - DAY
The POLICE exit the elevator and head for the front door. A cop suddenly
takes a hit from a silencer, then a second. Others are bashed on the head
by MANGALORE warriors. One of them picks up the prisoner bag, takes it
into a small shed.
118 INT. SHED
Aknot, the Mangalore leader, is seriously wounded and can't walk.
AKANIT
Korben Dallas! We got him.
AKNOT
Perfect... Take command, Akanit.
Go to Fhloston and get the Stones...
If Zorg really wants them... He'll have
to negotiate. Revenge is at hand.
119 INT. KORBEN'S APARTMENT KORBEN'S BUILDING - DAY
Korben gets unsteadily to his feet, some blood drips down his face. He
daubs at it.
KORBEN
Jesus!... Some priest!
The phone rings, he manages to answer.
KORBEN
Yeah?
MOTHER (V.O)
Have you pulled yourself together?
KORBEN
...Not yet.
He hangs up.
Korben opens the fridge door. The three officers are frozen solid.
Korben grabs some ice, presses it to his forehead.
KORBEN
I'll take the mission.
He closes the door.
120 INT. AIRPORT HALL - DAY
Cornelius and Leeloo (still damp) arrive at the Manhattan Intergalactic
Airport.
A huge hall three quarters filled with trash piled up to the ceiling.
There are groups of extra-terrestrials on strike standing in trash
holding picket signs. A SECURITY GUARD picks up a phone off the wall.
SECURITY GUARD
Illegal gathering in Zone 4.
A hand taps Leeloo from behind. She whips around catching David in the
face.
CORNELIUS
Leeloo, be careful.
He turns to David who in holding his bloody nose.
CORNELIUS
Did you get them?
David hands Cornelius two passports.
CORNELIUS
Excellent... Leeloo Dallas.
He hands it to her. The name makes her smile.
CORNELIUS
And Korben David Dallas.
She frowns.
LEELOO
Akta dedero ansila do mektet.
CORNELIUS
I can't pretend to be your husband...
David's in great shape.
She looks at David holding his bloody nose.
CORNELIUS
He'll protect you. Go on... See the Diva...
get the Stones... See you at the temple...
God be with you.
ANGLE ON: Korben comes rushing into the airport. Walking quickly, he
scopes the hall looking for Leeloo. A POLICE PATROL bearing down on the
STRIKERS jostles him. The cops open fire. The strikers dive into the garbage
and disappear.
121 INT. BOARDING GATE
David nervously puts tickets and IDs on the check-in counter.
Leeloo tosses her suitcase on the conveyor belt.
CHECK-IN ATTENDANT
Congratulations on winning the contest.
David gives her a bleak smile. Leeloo rolls her eyes.
Back a ways, Korben has spotted Leeloo and... David. He heads right for
them. Leeloo's seen him. She is both delighted and panicked. David's
seen nothing. Korben presses one of his fingers like a gun to David's back.
KORBEN
(friendly)
Hey! I really thought I was going to
miss my flight!
(to David)
Thanks, kid! You put the luggage on
the conveyor belt?
DAVID
(freaking)
Uh... yeah.
KORBEN
(smiling)
Great! Now beat it!
Paralyzed, David leaves. Korben turns to the attendant.
KORBEN
Excuse me. I was so afraid I'd miss the
flight that I sent the kid here to pick up
my boarding card.
He looks at David's fake ID.
KORBEN
...My cousin David...
Leeloo is unable to hold back a smile.
CHECK-IN ATTENDANT
(looking at Leeloo's ID)
Your wife?
Korben grabs the ID and reads it.
KORBEN
Uh, yes... Newlyweds.
(aside)
You know how it is... Love at first sight.
You meet, something goes tilt,. you get
married, you hardly know each other.
Right, darling?
Leeloo rips her boarding card out of the attendant's hand.
LEELOO
(sharply)
Dinoine chagantakat!
KORBEN
Took the words right out of my mouth.
Go on... I'll be right with you.
(to Check-in Attendant)
It's our honeymoon. We're going to use
the trip to get to know each other better.
He winks at the stewardess.
ANGLE ON:
The neighbor and a tawdry young girl cross the airport. The couple in
almost knocked over by a police patrol holding a 500 pound PIG on a
stainless steel leash. The couple panics a moment, the realize the patrol
isn't for them. The pig heads for the pile where the strikers disappeared.
COP
(to pig)
Come on, snyffer, go root!
The pig piles into the garbage. The Cop cuts it some slack.
Cornelius sits at a bar.
CORNELIUS
(to the bartender)
I feel so guilty sending her to do the dirty
work. I know she was made to be strong
but she's also so fragile... So human.
You know what I mean?
The bartender, a robot, nods his head as he pours Cornelius a drink.
ANGLE ON:
The nasty neighbor and his wife hand their tickets to the check-in
attendant.
CHECK-IN ATTENDANT
(surprised)
Dallas... Korben...
NEIGHBOR
(in a different voice)
Yes, that's me.
The check-in attendant triggers a transparent blue light that shines on
their faces, revealing two other faces:
Mangalores.
CHECK-IN ATTENDANT
(smiling)
Just a minute, please.
She hits a silent alarm, but the Mangalores feel something is wrong.
NEIGHBOR
We'll be right back ... we're gonna
check out the duty free...
They spin around and hurry away.
ANGLE ON:
Cornelius at the bar, half in the bag.
ROBOT
The same?
CORNELIUS
Yeah...
DAVID (V.O.)
Make that two...
Cornelius turns to David.
CORNELIUS
Where's Leeloo?
DAVID
On the plane... with Mr. Dallas...
the real one.
CORNELIUS
It's all my fault. I'm the servant...
It's my mission! Here!
He hands David the Temple Key from around his neck.
CORNELIUS
Here's the key to the Temple..
Prepare for our arrival!
Cornelius tosses David's drink into his own, downs it all in one shot,
and takes off, passing the Mangalore couple headed for the exit. They are
very nervous.
A police patrol is coming. This time, it seems to be for them.
NEIGHBOR
(to the tawdry girl)
Tell Aknot plan A flopped.
Tell him to go to plan B.
The tawdry girl nods and peels off. The neighbor takes out a gun and
blasts away at the cops. The cops fire back. A firefight rages in the
hall. The tawdry girl dives into a pile of garbage and disappears.
COP
(into walkie-talkie)
...Send in a back-up unit, Zone 7!
ANGLE ON:
On one side of the hall, a trap door opens. Three pigs come running out,
grabbed by their police handler.
Cornelius waits until everyone has left, gets down on all fours and
crawls through the trapdoor reserved for the pigs.
122 INT. FIRST CLASS LOUNGE
Leeloo stands at the buffet in the first class lounge eating everything
in sight.
123 INT. HALL
Korben is led down the hall by a STEWARDESS.
STEWARDESS
You are so lucky... Loc Rhod is the
coolest DJ in the universe.
KORBEN
Listen... I don't want to be interviewed.
I'd prefer to remain anonymous.
The stewardess stops in the corridor.
STEWARDESS
Forget anonymous. You'll be doing Loc
Rhod's live show every day from 5 to 7!
KORBEN
(expression changes)
You gotta be kidding!
The stewardess smiles and shakes her head. The door next to him suddenly
swings open and smashes him in the face.
In walks LOC RHOD amidst a tornado of music and security guards. He is
young, good-looking, eccentric, charming as an elf or sly as a fox. A
bundle of energy. He is the 24th century's most popular DJ.
LOC RHOD
(speedy, in rhythm)
Korben Dallas! Here he is The most hated
man in the universe. The one and only winner
of the Gemini Croquette contest! Ladies, start
melting 'cause the boy's hot! Hot! Hot! The boy
is perfect..
(he feels his muscles)
...The right size, right build, right hair. Right on!
Say something-to those 50 billion pair of ears out
there D-man!
An ASSISTANT hands a totally lost Korben a mike.
KORBEN
(hesitant)
...Hi.
LOC RHOD
Does it get any better or what!
Loc Rhod grabs Korben's arm and leads him down the hallway, as fast as
the music.
LOC RHOD
...Quiver ladies, he's gonna set the world on
fire right here from 5 to 7! You'll know
everything there is to know about the D-man.
His dreams, his desires, his most intimate of
intimates. And from what I'm looking at
intimate is the stud muffin's middle name.
So tell me my main man... you nervous in the
service?
KORBEN
Uh... not really.
Loc Rhod lets go of Korben's arm and grabs the Stewardess.
LOC RHOD
Freeze those knees, my chickadees, 'cause
Korben is on the case with a major face...
Loc Rhod rubs up against the stewardess.
LOC RHOD
...Start drooling, ladies! My man here is a
sharp-tongued Sire who's gonna stroke your
every desire.
They come to an intersection. The airline company has prepared drinks
for them. Loc Rhod pushes on, grabs a glass of champagne, scribbles his
autograph.
LOC RHOD
Yesterday's unknown will be tomorrow's Prince
of Fhloston Paradise, the hotel of a thousand and
one follies, home of luxury and beauty. A magic
fountain flowing with non-stop wine, women and
Bootchie Koochie Koo...
He tosses away his champagne glass.
LOC RHOD
Beware out there puppy dogs my man is on
the prowl. Owwww!
Howling, Loc Rhod grabs another stewardess by the arm.
LOC RHOD
...And start licking your stamps little girls,
this guy's gonna have you writing home to
Momma! Tomorrow from 5 to 7, I'll be your
voice, your tongue and I'll be hot on the tail
of the sexiest man of the year... D-man...
Your man... My man.
The stewardess shivers. A BEEP is heard.
VOCODER (O.S.)
End of transmission.
The MUSIC suddenly stops. Several assistants come and compliment Loc
Rhod who sighs, lights up a cigarette, and drops his pretense.
LOC RHOD
Korben sweetheart do me a favor I know this
is probably the biggest thing that ever happened
to you in your inconsequential life. But I've got
a show to do here and it's got to pop. So tomorrow,
when we're on air, give me a hand... Try to make
believe you have more than a one word vocabulary.
OK pal?
That does it. Korben grabs him by the collar and drags him into a
corner.
Loc Rhod's feet don't touch the ground.
KORBEN
(pissed)
I didn't come here to play Dumbo on the radio.
So tomorrow between 5 and 7 give yourself a
hand, that clear pal?
LOC RHOD
(petrified)
Crystal.
124 INT. AIRPORT
The Check-in attendant has two more tickets in her hand.
CHECK-IN ATTENDANT
(alter a moment, reading)
...Mr. Dallas... Korben Dallas?
Zorg's Right Arm gives her a big smile.
RIGHT ARM
That's right.
The attendant scans the ID with a yellow beam, it checks out, and the
blue light reveals no other face but his.
CHECK-IN ATTENDANT
The problem is I only have one Korben Dallas on
my list... and he's already checked in.
Right Arm's smile shatters.
RIGHT ARM
That's impossible! He's in j... I mean, there
must be some mistake. I have my ticket!
I'm the real Korben Dallas!
A shrill BELL rings out.
CHECK-IN ATTENDANT
(smiling)
I'm sorry, sir, boarding is finished.
The attendant hits a button. A thick window slowly slides up between
them.
Right Arm totally loses it.
RIGHT ARM
I want to see your boss! Get rid of this
fucking window! Somebody's made a
mistake, goddamnit!
He pounds on the counter with both fists. A steel curtain comes down.
Red sighting beams target spots on his body, ten gun barrels protrude from
the wall, all aimed at him.
VOICE (O.S.)
This is not an exercise. This is a police
control.
Put your hands in the nearest yellow circles...
RIGHT ARM
(slowing down)
Sorry, my fault... Just a little overexcited...
that's all... I'm calm now.
125 INT. SHUTTLE - DAY
Korben makes his way in the plane looking for his seat. No more seats in
modern planes, just individual travel boxes lined up like microwaves. He
passes STEWARD holding his bloodied nose. He has found what he is looking
for. He enters to.... Leeloo quietly stretched out in front of a computer
screen. Korben slips in beside her. Leeloo in concentrating on the words
that scroll rapidly past her on the screen. He doesn't understand what she
is doing.
LEELOO
Apipoulai!
KORBEN
Not hard to find you...just follow the
Chaos...
Leeloo smiles, as if complimented.
KORBEN
Leeloo, listen to me... these tickets...
they're not mine... I mean they are, but
not for vacation like everyone thinks...
I'm on an operation... and if I didn't come
get you, you'd be in a shitload of trouble...
I'd love to be on vacation with you...
but now.... now I've got to work...
And Leeloo... I would love to work in peace.
Leeloo types in "LOVE" on the keyboard.
LEELOO
Love...
KORBEN
Yes! But "love" isn't the operative word
here, PEACE is!
Leeloo types in this new word.
LEELOO
(rather pleased)
Peace... and love...
She brings up a picture of a 60's style Hippie flashing a peace sign.
Korben sighs and switches off the screen.
KORBEN
Sometimes you can't learn everything
from a screen..sometimes it's better to
ask someone who has experience..
LEELOO
(quite happy)
What is... Make Love?
Korben just stares at her for a few minutes.
KORBEN
Know what? On that subject maybe you'd
be better off asking the screen.
He turns the computer back on.
ANGLE ON:
A STEWARDESS walks up the aisle of the shuttle pushing the red buttons on
top of each individual box.
VOICE (O.S.)
...to make your flight as short and agreeable
as possible, our flight attendants are switching
on the timing sleeper which will regulate your
sleep during the trip...
ANGLE ON:
LEELOO
(switching off the screen)
OK! Finished!
KORBEN
Finished what?
LEELOO
Learning language.
KORBEN
Which one?
LEELOO
All 900.
Korben doesn't know if he should laugh or not.
KORBEN
You learned 900 languages in five
minutes?!
LEELOO
(pleased)
Yes! Now it's your turn! I learned your
language, you have to learn mine!
KORBEN
I know how to say "Hello". Teach me how
to say "Good-bye", that's all I need.
LEELOO
Apipoussan!
KORBEN
Apipoussan?
LEELOO
Good! Do you know how we say "make love"?
KORBEN
(fumbling)
Uh...
LEELOO
...Hoppi-hoppa.
Korben literally melts.
KORBEN
(to himself)
Help...
Luckily, a stewardess smiles at him through the box window.
STEWARDESS
Sweet dreams, Mr. Dallas!
The stewardess sets the timing sleeper. Korben and Leeloo immediately
fall asleep.
A STEWARDESS at the other end of the shuttle has a problem.
STEWARDESS 2
Mr. Loc Rhod you have to assume
your individual position.
LOC RHOD
(hugging her)
I don't want an individual position,
I want all positions!
STEWARDESS 2
(resisting somewhat)
We're going to take off soon, Mr. Rhod!
LOC RHOD
Now you're talking!
126 INT. COCKPIT FHLOSTON SPACE SHUTTLE
Three CREW MEMBERS prepare for liftoff.
COPILOT
(on the radio)
Molecular axis authorization. Vector 130.
Destination Fhloston.
Stewardess 1 enters the cockpit.
STEWARDESS 1
Zone 1. 217 locked. The sleep regulator is OK.
PILOT
(checking her out)
Thanks, Miss.
The Stewardess leaves with a smile. A red light flashes on the vast
control panel.
MECHANIC
Tell the ground crew we've got parasites
in the landing gear.
127 INT. AIRPORT LANDING STRIP - DAY
A GROUND CREW MEMBER goes over to the truck parked under one of the
plane's wings and bangs on the side of it with a shout.
GROUND CREW MEMBER
Disinfecting!
Two DISINFECTORS in hermetically sealed suits exit the truck. They go
over to the front landing gear and send up a whooshing beam. The flame
burns everything it touches. A pack of repugnant creatures falls squealing
from the landing gear. A small trapdoor is opened under the shuttle and a
huge slightly phosphorescent tube falls out.
128 INT. AIRPORT HALL / ZORG'S OFFICE
Zorg's Right Arm is in a phone booth in the middle of the hall.
RIGHT ARM
Yeah, it's me... Put Zorg on.
He is already sweating.
ZORG
(cold)
I'm listening.
RIGHT ARM
The real Korben Dallas is on the plane!
He took my place.
ZORG
This is a joke, right?
129 INT. SHUTTLE
Loc Rhod is wrapped around a stewardess like a snake.
LOC RHOD
No!! I swear to God! I've never been this
sincere with a human before!
130 EXT. LANDING STRIP
TWO GROUND CREW MEMBERS stick an enormous, highly phosphorescant tube
into the opening.
GROUND CREW MEMBER
You're fueled and ready to go.
Have a nice flight.
131 INT. SHUTTLE
PILOT
(to copilot)
Everything ready for liftoff?
132 INT. CABIN
STEWARDESS
(weakly, to Loc Rhod)
No, no... I'm not ready! I'd like to talk first...
133 INT. ZORG'S OFFICE / AIRPORT HALL
ZORG
I cannot hear you. We have a bad
connection here. What's your number?
Right Arm reads off the phone number.
RIGHT ARM
278-500-645-321
ZORG
I'll call you back.
134 EXT. LANDING STRIP
The runway is now empty. A man slips out of the shadows. It's Cornelius.
He scurries over to the front landing gear. He pauses for an instant, the
climbs up the wheel well and disappears inside the shuttle.
135 INT. SHUTTLE
The pilots are going through the pre-flight check list.
COPILOT
Anti static pressure?
MECHANIC
Primed.
The mechanic presses a series of buttons.
136 INT. CABIN
Loc Rhod undoes a series of buttons on the stewardess' blouse, behind a
curtain. He whispers a poem. Impossible to resist him. Outside the
curtain the stewardess' legs rise slowly.
137 EXT. LANDING STRIP
On the ground, protective fire curtains rise slowly to contain the engine
exhaust on liftoff.
138 INT. ZORG'S OFFICE
A keyboard slowly appears in front of Zorg.
ZORG
(typing the number)
278... 500...
139 SERIES OF QUICK CUTS:
The pilot gradually turns the engines up.
COPILOT
10 seconds...
PILOT
Power increase.
- The stewardess undergoes a power surge from Loc Rhod that's about to
lift her of.
- Zorg finishes gleefully typing in the number.
ZORG
3... 2... 1...
- The engines at full blast.
- The stewardess in close to screaming.
PILOT
Liftoff.
- The copilot pushes a button.
- So does Zorg.
- The engines release their full power.
- The stewardess screams in ecstasy.
- In the hall, Right Arm literally explodes along with the phone and
everything else within 60 feet.
140 INT. FHLOSTON SPACE SHUTTLE
The stewardess' legs slowly descend and disappear behind the curtain.
141 INT. COCKPIT
In the cockpit, the atmosphere loosens up.
COPILOT
(relaxing)
Landing gear secure. Let's light one up.
142 INT. CABIN
Korben and Leeloo sleep soundly in their box. Leeloo has a smile on her
face and her hand in Korben's.
143 EXT. OUTERSPACE - NIGHT
The spaceship rockets past us, then suddenly vanishes with amazing speed.
Space is now empty and calm. Billions of stars glow in perfect silence.
144 EXT. SPACE
The nefarious planet in still there, immobile, even larger now, writhing
like a serpent. Then, suddenly, for no apparent reason, all activity stops
and it becomes gray and cold.
145 INT. SPACESHIP
In the Admiral's starship, scientists watch the measuring device. One of
the devices suddenly starts working.
TECHNICIAN
All right! We're finally getting something!
146 INT. PRESIDENT'S OFFICE
The Head Scientist stands facing the President, who is looking more tired
than ever.
HEAD SCIENTIST
The thing is sending out radio wavelengths!
PRESIDENT
What the hell does it want with radio waves?
HEAD SCIENTIST
...Probably wants to make a call!
The President and his Generals look at him in astonishment.
147 INT. ZORG'S OFFICE
Picasso purrs contentedly on Zorg's lap. The phone rings.
SECRETARY (O.S.)
Mr. Shadow on the line.
Zorg shoots to his feet. Picasso tumbles to the floor. Zorg picks up
the phone, both excited and uneasy. He stands there, almost coming to
attention.
ZORG
Yes... Zorg here.
The voice is feeble. It comes from the far reaches of time, from the
bowels of the universe.
SHADOW
Am I disturbing you?
ZORG
No... not at all. Where are you?
SHADOW'S breathing is awesome.
SHADOW
...Not far, now.
ZORG
Really? Maybe I can get you on my screen
and see you at last!
Zorg brings up a huge screen and pushes a few buttons.
In the middle of an electronic snowstorm, a blackish, vaguely human,
quiverinq form appears. Two eyes, like lava, give an idea where the head is.
Zorg feels sick.
SHADOW
Do you have the picture now Mr. Zorg?
ZORG
Got it.
SHADOW
How's our deal coming along?
ZORG
(ill at ease)
Fine, just fine! I'll have the 4 pieces you
asked for any time now. But it wasn't easy.
My costs have tripled.
Shadow pauses an instant. A black slimy liquid starts to ooze from the
top of the screen. Zorg is feeling worse all the time.
SHADOW
Money is of no importance...
I want the Stones!
The black liquid oozes all over the screen which starts to melt. Zorg
sweats profusely, his legs tremble.
ZORG
The Stones will be here. I'll see to it
personally!
SHADOW
...I can't wait to be among you.
Zorg sighs and sits down totally freaked.
148 EXT. ORBIT FHLOSTON PARADISE
The space shuttle fills the screen. It banks left and begins its descent
toward Fhloston, the turquoise planet. Crystal blue water, perfect white sand
beaches. A true paradise.
149 INT. SPACE SHUTTLE
The stewardess picks up a microphone to make an announcement.
STEWARDESS
Ladies and gentlemen, we have begun our
descent toward Fhloston Paradise...
Stewardesses walk down the aisles waking the passengers one by one. They
press a button on the door of each box.
In the corner, Loc Rhod and the stewardess awake with a start and
straighten their clothes quickly. The stewardess is embarrassed.
STEWARDESS
(timidly)
I wanted to tell you that...
Loc Rhod puts on his sunglasses and presses a finger to her lips. He
disappears behind the curtain leaving the sighing stewardess on her own.
150 EXT. FHLOSTON PARADISE
The spaceship descends through some clouds and glides over a vast
turquoise sea. Fhloston Paradise looms into view. An enormous oceanliner
floating a dozen yards above the water. On closer inspection it is more
modern than a traditional oceanliner. The shuttle draws near, looking
ridiculously small next to the monster. Like a sardine next to a whale.
151 INT. COCKPIT
A blinking light goes on.
PILOT
Shit! Parasites in Zone 1. Take a look.
The 1st Mate heads off.
152 INT. CABIN
A stewardess opens Korben's box door. He is still heavy with sleep. He
looks over at Leeloo. She's not there.
153 EXT. FHLOSTON
The tiny space shuttle clings to the huge oceanliner.
154 INT. COCKPIT
The Pilot maneuvers the ship into it's docking area.
PILOT
Docking activated.
You can let the passengers out.
155 INT. REAR OF COCKPIT
The 1st mate pries open the door to an overhead panel. Cornelius falls
out, hanging in a jumble of wires.
156. INT. ENTRANCE HALL FHLOSTON PARADISE - DAY
The enormous door opens and the passengers exit. Leeloo is among them.
She appears quite impressed by the beauty and luxury of the 19th century
decoration.
157 INT. CABIN
Korben attempts to make his way up the shuttle's aisle.
KORBEN
(jostling everybody)
Pardon me. Excuse me. I'm trying to
reach my wife.. Sorry!
158 INT. ENTRANCE HALL
A dozen policemen wait patiently at the end of the hall. Leeloo stops
and presses against the wall. She spots Korben leaving the shuttle. A
gorgeous HOSTESS comes up to him, drapes a lei around his neck and plants a
kiss on his lips in welcome.
HOSTESS
(smiling)
Welcome to Paradise.
Korben's face is covered in lipstick. Leeloo sees he did nothing to stop
the girl and she doesn't like it.
A HEFTY MAN wearing a sarong drapes some flowers around her neck. Then,
obviously relishing it, he leans down to kiss her. Leeloo bashes him on
the forehead. The hefty man straightens up. He's still smiling, but his
nose is bleeding. He falls slowly to the floor.
Korben pushes forward trying to spot Leeloo. He also tries to wipe the
lipstick off. Leeloo tries to escape through a door marked PERSONNEL ONLY,
but it's locked. A HOST looks at her with a grin.
HOST
(playful)
If you don't have the code you can't
open it!
Leeloo smiles and punches in an old code and twists the doorknob. The
door opens with the sound of a braking lock. Leeloo smiles sweetly and enters
as if nothing were amiss.
A shriek of joy fills the room. Korben turns around. The HOSTESSES
cluster around Loc Rhod as he comes out of the plane. Loc Rhod spots Korben
and latches onto his arm. It's not going to be easy to remain discrete.
LOC RHOD
(relieved)
My main man! Please don't leave me here
alone. My head's killing me and my adoring
fans are gonna tear me apart! Get me outta
here!
KORBEN
I'll take you to the bar, after that,
you're on your own.
LOC RHOD
(hanging on to Korben)
Oh, yes! Do that! You treat me right,
man. Tell me all about yourself, your
roots, your personal life, your childhood
dreams...
KORBEN
I don't think this is a good time...
LOC RHOD
...You got brothers and sisters? What
about your dad? Tell me about your
dad! What was he like? Physically?
Big, I suppose?
KORBEN
(evasive)
Yeah, very big, a giant.
LOC RHOD
I didn't have a dad... never saw him...
never even heard him. 50 billion people
listen to me every day... and he doesn't
hear me...
159 INT. SMALL ROOM FHLOSTON PARADISE - DAY
Leeloo is in a small room, ear at the door, listening. Everything seems
normal. She turns and discovers the room for what it is: a rest room
for... three cops who look up from their books and stare blankly at her.
Leeloo doesn't know what to do. So she smiles.
160 INT. HALL - OMIT
161 INT. MAIN HALL FHLOSTON PARADISE - OMIT
162 EXT. ORBIT FHLOSTON PARADISE - DUSK - OMIT
163 INT. THE CONTROL ROOM FHLOSTON PARADISE - DUSK - OMIT
164 INT. KORBEN'S STATEROOM
The door opens. The HOSTESS turns on the light and enters. Korben
follows her, gaping at all the luxury.
The BAGGAGE BOY enters bringing Leeloo's two suitcases.
Korben grabs the notice announcing Diva Plavalaguna's concert at 5:30 in
that evening. Dress: Formal attire.
KORBEN
For the concert it says formal attire...
I didn't bring...
The hostess pulls back the closet door. Twenty tuxedos in a row.
HOSTESS
(looking him over)
Here's some champagne. I'll drop by after
the concert to open it.
She gives him a blinding smile and closes the door.
Korben pushes a button. The curtains open to reveal a most spectacular
view of the turquoise planet. Stars shoot out into infinity.
Breathtaking. Korben stands gaping. The phone rings, snapping him out of
his reverie.
KORBEN
Hello?
MOTHER (O.S.)
You little sleaze bag!
KORBEN
...Ma???
MOTHER (O.S.)
Don't you ever ask me for another thing
in my life again, you've killed your
poor mother with your own hands!
Korben drops into an armchair and sighs. His eyes go to the ceiling.
KORBEN
...Ma!!!
165 INT. CONTROL ROOM FHLOSTON PARADISE - OMIT
166 INT. FHLOSTON PARADISE POLICE OFFICE - DAY
The Chief of Police has Cornelius in front of him, handcuffed.
FOG
The Diva's ship is coming in.
CHIEF OF POLICE
I want maximum security.
FOG
Yes. Sir!
CHIEF OF POLICE
(to Cornelius)
OK, let's hear it.
CORNELIUS
Where was I?
CHIEF OF POLICE
(bored)
...You open the door. There's a cabby with
a girl in his arms.
FOG opens the door. Two COPS come hobbling in all bloody and bandaged.
They hold up a THIRD COP.
CHIEF OF POLICE
What happened?
A bomb go off in your face?
BEAT-UP COP
Yeah... A 5 foot 7 inch bomb...
with green eyes.
Cornelius perks up.
CORNELIUS
And the smile of an angel?
They all turn to look at him.
CORNELIUS
(to Chief)
May I speak to you alone.
167 INT. CORRIDOR FHLOSTON PARADISE - DAY
Leeloo watches the Diva's arrival. A door opens and two POLICEMAN clear
the way for DIVA PLAVALAGUNA, her MANAGER, her BODYGUARDS and a gaggle of
PORTERS carrying trunks.
Not wanting to draw attention to herself, Leeloo feigns interest in a
painting that is obviously upside down. A white chiffon veil covers the face
of the Diva, she stops in front of Leeloo. The Diva reaches out and
strokes Leeloo's face, without touching her. The Diva removes her hand
making a sound of crackling electricity, then passes on. Leeloo is groggy.
The Diva's ASSISTANT comes up to her.
DIVA'S ASSISTANT
Please forgive this little incident. She wants
you to know that she senses great powers in
you... in the service of a noble cause... She
will give you what you have come to get, but
she wants to sing first...
One last time...
The Diva's assistant turns the painting right side up.
DIVA'S ASSISTANT
(nodding)
Miss.
Leeloo looks at the painting, seems to understand it better.
168 EXT. DIVA'S SUITE
Policemen stand at attention in front of the Diva's suite.
FOG
Hello, I'm head of security.
Everything is in order. You can...
The Diva enters her suite without letting him finish.
FOG
...make yourselves at home safely.
If you need anything...give it a knock!
169 INT. POLICE OFFICE HALLWAY - NIGHT
A door opens near the police officer's main entrance. Cornelius looks
both ways. Then crosses the hall, dragging the Chief of Police by the feet.
170 INT. KORBEN'S STATEROOM
Korben finishes putting on his tux, still on the phone.
KORBEN
Listen, Ma! I've only got a few days
vacation and I'll be damned if I'm
gonna spend them on the phone.
The door RINGS.
KORBEN
...Hang on, it's the door. No!
I told you I didn't bring anybody!
I'm all alone... as usual!
Korben opens the door. It's not the champagne. Even better. It's
Leeloo.
KORBEN
(to his mother)
...I'll call you back.
Leeloo heads right for her suitcase and starts to undress. Korben has to
turn away once more.
KORBEN
Here we go again...
LEELOO
(by rote)
You know women normally change five
times more than men.
KORBEN
You get that off the screen?
LEELOO
Yes... you know there's a lot of
differences between men women.
KORBEN
You noticed..
LEELOO
OK, you can turn around!
Korben turns around. Leeloo has put on a very simple dress which is sexy
to the max. He is smitten. So much so that Leeloo wonders if something
isn't quite right.
KORBEN
Where you going?
LEELOO
I'm going to see the Diva sing. What's
the matter?... Do I look bad?
KORBEN
No, not at all! I mean, just the opposite,
you're... you're beautiful!
Leeloo smiles at him, his compliment pleases her. She turns, revealing
her unzippered back. Korben cannot help but stare at her bare flesh. Her
perfect bottom.
LEELOO
Do you know how this works?
Korben's blood boils. She wriggles, pressing her hands together close to
the zipper.
KORBEN
I have an idea.
But instead of pulling on the zipper he slips a bracelet on her wrist. A
flourescent beam bursts out of the bracelet and forms a vertical bar going
from the floor to the ceiling.
Stunned, Leeloo is held captive.
KORBEN
I told you I need to work in peace.
Remember? I need to concentrate.
LEELOO
And you can't concentrate with me
around?.
KORBEN
It's difficult.
She tries to breakout.
KORBEN
Army issue. I'm sorry.
Leeloo tries desperately to get out of the handcuffs. Impossible.
Korben sets the radio down in front of her and turns it on.
Leeloo looks like she'd like to break his head.
LEELOO
(seething)
You're nothing but a... a...
KORBEN
The words you're looking for weren't
in the dictionary you studied. I won't
be long.
The door flies open. Loc Rhod barges in.
LOC RHOD
Hey Stud we gotta...
Then he sees the scene, Leeloo cuffed, in a low cut dress. His mind goes
to the obvious.
LOC RHOD
Korben my man what's happening here?
Who's the chick? What's the gig?
We free forming here? Getting funky
with the monkey? Can I get in on this?
Korben grabs him by the collar..
KORBEN
No..to all of the above.
And yanks Loc Rhod out of the room. Leaving Leeloo looking extremely
unhappy.
171 INT. RADIO - OMIT
172 INT. LOC RHOD'S STATEROOM FHLOSTON PARADISE - NIGHT - OMIT
173 INT. HALL - OMIT
174 INT. BATHROOM - OMIT
175 INT. DIVA'S SUITE FHLOSTON PARADISE - NIGHT - OMIT
176 INT. FHLOSTON PARADISE OPERA - NIGHT
Loc Rhod and Korben enter what turns out to be a replica of the Garnier
Opera in Paris. A hostess escorts them to their seats.
LOC RHOD
(broadcasting)
We have just walked into what is probably
the most beautiful concert hall in the universe.
Totally awesome! Magnificent paintings on the
ceiling. I don't know who painted them, but he
must have busted his balls! I see a row of former
ministers, more sinister than minister! A few generals
practicing how to sleep. And there's Baby Ray, star
of stage and screen, drowning in a sea of nymphets.
He's not gonna get much out of this concert, he's
stone-deaf!
ANGLE ON:
Baby Ray bending his ear to a girl asking for an autograph.
BABY RAY
...to who?
LOC RHOD
(moving down the aisle)
...And over there is Roy Von Bacon, the king
of laserball and the best paid player in the League.
(shakes hands as he goes by)
...And over there is the Emperor Kodar Japhet
whose daughter Aachen is still at the bar.
"I love to sing, too, but in the shower", she
recently confessed to me. She will no doubt
prove to be as generous tonight as she always is.
A waiter gives them two glasses of champagne. Track with the WAITER an
he leaves the hall with his empty tray. He enters a small room reserved for
staff.
177 INT. STAFF ROOM FHLOSTON PARADISE - NIGHT
The waiter joins some other WAITERS. They are well armed. He opens a
cupboard and pulls out a humongous weapon. Suddenly their faces burn off
revealing AKANIT, the young leader of the Mangalores, and his troops.
AKANIT
It's showtime!
178 INT. CONCERT HALL
The lights dim slowly in the concert hall.
179 INT. PRESIDENT'S OFFICE
President Lindbergh and his staff, including Munro, sit at the desk.
Speakers appear.
180 INT. KORBEN'S SUITE
Leeloo, still a prisoner, listens to the concert.
181 INT. CONCERT HALL
Korben is tense. The curtain rises. The Diva, in a stunning gown,
stands in the center of the stage, head bowed. Behind her, a star filled
window. The MUSIC begins. The Diva looks up, a rare beauty, but an alien.
And then she begins to sing. Her voice is divine, unmatched. Korben is
swept up in the TEARS.
182 INT. KORBEN'S SUITE
Leeloo has tears in her eyes
183 INT. DIVA'S SUITE
The manager couldn't care less about the concert. His main problem is
the bottle of scotch he can't seem to open. The doorbell RINGS.
MANAGER
(ugly mood)
Yeah!?
VOICE (O.S.)
Flowers for the Diva.
MANAGER
She's allergic to flowers!!!
VOICE (O.S.)
There's champagne as well...
The manager takes one look at the stubborn bottle and opens the door. And
finds himself staring down the barrel of a gun. A dozen Mangalores rush
in. One of them, with a human face, closes the door and waits out in the hall.
ANGLE ON:
Cornelius watching from around the corner.
CORNELIUS
...My God!
184 INT. CONTROL ROOM FHLOSTON PARADISE
CAPTAIN
Commander, I have a ship with a main
malfunction. He requests permission to
dock for repairs.
COMMANDER
Did you check out his registration number?
CAPTAIN
Everything's in order.
COMMANDER
Put him in the docking garage and inform
the police.
185 INT. COCKPIT ZFX200 - NIGHT
CAPTAIN (V.O.)
Permission granted. Dock 575. You have
an hour. Will that be enough time'?
Zorg sits at the controls.
ZORG
(cold)
More than enough.
186 EXT. FHLOSTON PARADISE - NIGHT
The ZFX approaches Fhloston.
187 INT. KORBEN'S SUITE
The ship comes close enough for Leeloo to see it out the window.
FLASHBACK:
The same ships with Mangalores at the controls attack the Mondoshawans at
the beginning of our story.
188 INT. KORBEN'S SUITE
Leeloo is alarmed. She has to act. She seizes the flourescent bar beam
with great effort and rams it into the ceiling, marking a hole large enough
for her to escape.
189 INT. CLOSET FHLOSTON PARADISE
Cornelius bursts into the closet he left the Chief of Police tied and
gagged in. He quickly unties him.
CORNELIUS
(in a panic)
Mangalores! The Diva's suite! They want
the Sacred Stones! They must be stopped.
We must stop them!. I'm going to free you
but you must promise to help me!
The Chief of Police nods his agreement.
190 INT. DIVA'S SUITE
The Mangalores have trashed the suite. One of the Mangalores finally
finds a case engraved with the four elements.
MANGALORE
I have it.
The Mangalore is about to open the case when... Leeloo descends quietly
and gracefully from the ceiling. Time stands still.
LEELOO
(smiling)
Apipoulai!
191 INT. CONCERT HALL
The Diva switches from classical music to funk, picking up the tempo.
INTERCUT':
192 INT. DIVA'S SUITE / CONCERT HALL.
A WARRIOR whips out the biggest knife ever made and rushes Leeloo. She
disarms him gracefully. A violent fight breaks out. The Diva sings and
Leeloo dances. The Mangalores pay a heavy price for the show.
193 INT. CORRIDOR
Hearing noise from inside the suite, the Mangalore by the door gets
nervous. He runs for reinforcements.
194 INT. POLICE STATION
Cornelius enters the police station wearing handcuffs. The Chief of
Police is behind him holding a gun.
195 INT. DIVA'S SUITE / CONCERT HALL
Leeloo knocks out the last Mangalore just as the Diva finishes her song
to a burst of applause. The Diva takes a bow. So does Leeloo.
196 INT. ROOM
Akanit and his men listen to the concert. The Mangalore guard runs in.
MANGALORE
They were waiting for us! It was an
ambush!
AKANIT
If it's war they want it's war they'll get!
Enact the Final Plan!
All the Mangalores cock their weapons.
197 INT. DIVA'S SUITE
Leeloo is about to open the case when the door EXPLODES. Zorg is there
holding a ZF1.
ZORG
My compliments, little lady!
...And thanks for doing all the dirty work!
I couldn't have done it any better myself!
(sharply)
...Now hand over the Stones!
Leeloo smiles and hands him the case. Zorg arms the ZF1 and gets ready
to kill her.
ZORG
Nice knowing you.
Leeloo catches on quickly. She kicks the scotch bottle on the floor into
the gun which throws Zorg's shot off. She jumps to the ceiling and
disappears in an air vent. Furious, Zorg fires at the ceiling.
198 INT. AIRSHAFT
Leeloo dodges the bullets as best as she can.
199 INT. SUITE
Zorg fires his 3000 round clip. The ceiling looks like a piece of swiss
cheese. Zorg sticks a small cylinder in the wall and flicks it on. The
numbers flashing by tell us it's a bomb. The timer reads: 19 minutes and 59
seconds.
ZORG
(with a crafty smile)
You can run but you can't hide...
200 INT. POLICE OFFICE FHLOSTON PARADISE - NIGHT
Cornelius is seated opposite the Chief of Police. A MEDIC is bandaging
the chief's head. The door explodes. The cop outside in riddled with
bullets. A dozen Mangalores attack the police office. Akanit is at
their head. The policemen are caught unaware.
AKANIT
Nobody move! We're taking over this
ship!
The Chief of Police is goggle-eyed. Cornelius leans toward him.
CORNELIUS
(pleased with himself)
I told you...
201 INT. CORRIDOR
Zorg has the case and exits the suite just as the general alarm goes off.
He sighs in exasperation.
202 INT. CONCERT HALL
Three Mangalores suddenly rush into the opera hall shooting.
MANGALORE 1
Everyone down!
There is panic all around.
LOC RHOD
(broadcasting, panic stricken)
Ladies and gentlemen, I think we're being...
attacked. The place is crawling with warriors.
203 INT. PRESIDENT'S OFFICE
President Lindberg and his generals look very worried.
204 INT. CONCERT HALL
Some security guards open fire one of the Mangalores is hit. The others
turn their guns on the cops. People scream, diving for cover. Korben bides
his time.
More Mangalores rush in from all around shooting. Two cops are killed.
The Diva... takes a bullet.
She falls from the stage into Korben's arms. He lowers her to the floor.
Korben ignores the panic all around and wraps her in his dinner jacket,
trying to stop the blue blood spurting from her wounds.
205 EXT./ INT. SPACE AROUND FHLOSTON
Zorg's ZFX200 speeds away from the boat. Zorg is at the controls, a
devilish smile on his lips.
ZORG
You want something done, do it yourself!
206 INT. CONCERT HALL
Fighting rages all around in the concert hall, but Korben is oblivious to
it. He sets the Diva's head delicately on the floor. Loc Rhod is hidden
nearby, still on the air.
LOC RHOD
(voice low, panicked)
They're hideous. They've got a crest on
the head, the eyes of a toad and fingers
all over their hands. Totally hideous!
207 INT. PRESIDENT'S OFFICE.
MUNRO
(worried)
...Mangalores!
PRESIDENT
Send a battalion out immediately!
208 INT. CONCERT HALL
KORBEN
(to the Diva)
I was sent by the government to help you.
DIVA
Don't worry. This is my fate...
How was the concert?
Korben is a little surprised, but... the Diva is an artist.
KORBEN
I've never heard anything so beautiful
in my life.
A Mangalore jumps on them from the stage. Korben makes short work of him
and grabs his gun.
DIVA
(weak)
You're a good man...
She was right to have chosen you...
KORBEN
Who?
DIVA
The Fifth Element...
The Supreme Being... Your wife...
Korben is floored.
KORBEN
Leeloo... is... she's...
DIVA
Yes, and more than that... You must
give her the Stones, she's the only one
who knows how to use them.
KORBEN
(to himself, suddenly
realizing)
...So Cornelius was telling the truth!
209 INT. POLICE STATION
The Mangalores tie up Cornelius and the Chief of Police together.
CORNELIUS
(to the Chief of Police)
Of course I was telling you the truth!...
If you had listened to me in the first place,
we wouldn't be in this predicament now!
210 INT. CONCERT HALL
Korben wastes two more Mangalores.
DIVA
She needs you. She needs your help and
your love. She's more fragile than she seems...
Korben looks around, ready for another attack.
KORBEN
...Yeah, so am I.
The Diva takes his hand.
DIVA
She was taught to love the life of others...
but not her own. You have to teach her
to love if you want her to truly live!
KORBEN
(uncomfortable)
I'll help her, I promise, but I think you
should tell me where the Stones are!
DIVA
Do you love her?
KORBEN
I... I don't know! We hardly know
each other... it takes time!
DIVA
I don't have time... I need to know.
KORBEN
Listen, the last time I admitted to a woman
I loved her ... I never saw her again.
DIVA
I would like to have died in peace...
The Diva's eyes close.
211 INT. DIVA'S SUITE
The timer on Zorg's bomb clicks over to "15 minutes".
212 INT. CONCERT HALL
KORBEN
You tell me to save the world then
you go off and leave me in the shit!
He shakes her, gently slapping her cheeks.
KORBEN
Come on! You're not gonna die in peace!
You're not going to die at all! You hear me?
Where are the Stones?
213 INT. SPACESHIP
Zorg sets the Sacred Case on a table in the cockpit. He opens it with a
complacent smile: It's empty!
He cannot believe his eyes. He goes berserk, destroying everything in
sight.
214 INT. CONCERT HALL
Korben slaps the Diva soundly. She comes around somewhat.
KORBEN
I'm sorry, but... the Stones...
DIVA
(very weak)
They are... with me...
The Diva dies. Blue blood streams from her mouth. Korben frisks the
Diva but doesn't find anything. The shooting slowly stops in the theatre.
The Mangalores are now in total control.
MANGALORE 2
Stay calm and nobody will get hurt!
Hands on your head and into the hall!
The guests comply
KORBEN
(to himself)
...The Stones are with me?
and then it occurs to him.
KORBEN
...In me?
He touches the Diva's stomach and senses something hard. Girding
himself, he sticks his hand in the wound and pulls out a Sacred Stone.
Then another. And another. Korben pulls out all four Stones, covered in blue
blood. Everyone has left the theater. The Mangalores check the aisles one
by one.
Loc Rhod peeks out from under a seat.
LOC RHOD
Don't you think we'd better be going?
A Mangalore spots Korben kneeling alongside the Diva. He grabs Korben by
the shoulder and pokes him with his gun.
MANGALORE
Hey, you! With the others!
Korben spins and, in one swift motion, breaks his arm. Just for
starters. Another WARRIOR rushes over. Korben punches him into oblivion
and snatches the gun.
KORBEN
That's it... I've had... all day people
have been sticking guns in my face...
Korben wraps up the four Stones in his shirt.
LOC RHOD
Korben man... These dudes are going
to waste us if we don't do what they say.
Korben gives him the package and grabs his mike.
KORBEN
You don't do what I say... I'll waste
you myself. Got it?
LOC RHOD
Got it...
215 INT. PRESIDENT'S OFFICE
President Lindberg dabs his sweaty face with a towel.
216 INT. POLICE STATION
Akanit is still in the police station facing control screens. He barks
into a
walkie-talkie.
AKANIT
What's the situation in the hall?
217 INT. HALL
Hostages are being gathered in the middle of the hall. They are
surrounded by Mangalores who guard them.
MUGGER
(into walkie-talkie)
There's no more resistance.
Everything's under control.
Three Mangalores are suddenly blasted through the glass door leading to
the theater. Korben bursts into the hall, two huge guns in his hands.
KORBEN
Everybody down!
Korben takes out two more WARRIORS coming towards him, rolls behind a
column.
Laser bullets stinging all around his head.
LOC RHOD
This is amazing! Korben, Korben Dallas,
the winner of the Gemini Croquette
contest just killed three warriors like he was
swatting flies...
Panic everywhere! Heavy firing fills the hall.
ANGLE ON:
Roy von Bacon, the laserball player, rises from the floor behind a
Mangalore, grabs him and smashes his head into a column, seizing the gun.
ANGLE ON:
Two Mangalores firing a huge machine gun at the column Korben is using
for cover.
He dives for cover behind the bar.
ANGLE ON:
Two Mangalores watch awestruck. Roy whistles behind them. The two
Mangalores turn around. Roy bonks their heads together.
LOC RHOD
It's Roy von Bacon, the Lions center
forward joining in the battle...
Someone taps Loc Rhod on the shoulder. He jumps with fright.
PRINCESS AACHEN
(hot to trot)
All this is terribly exciting, hmmm?
Loc Rhod covers his mike.
LOC RHOD
GET OFF MY BACK!
A Mangalore shoots in their direction. Loc Rhod flattens himself on the
floor. A vase falls on the Princess knocking her out. A Mangalore loads
some missiles in his gun and destroys the bar piece by piece forcing Korben to
move forward. Korben motions to Baby Ray hiding under the pool table.
KORBEN
Toss me the balls!
BABY RAY
(terrified, still deaf)
What?
Another piece of the bar explodes.
KORBEN
The balls for Christ's sake!
Korben apes playing pool, but Baby Ray really is stone-deaf.
EMPEROR JAPHET
He wants the balls! You deaf or something?
The EMPEROR rolls the balls over to Korben. The Mangalore loads more
missiles and shatters another part of the bar. Korben hides behind the last
bit left.
KORBEN
How far is he from here?
The EMPEROR glances at the Mangalore, who in reloading.
EMPEROR
I'd say about thirty yards to the left.
Korben hefts the ball, jumps up and hurls it with blinding speed. The
Mangalore catches it right in the head. He drops, firing in the air. The
missile strikes the ceiling which collapses on him. The emperor gives Korben
a thumb's up.
LOC RHOD
...And our man Korben has literally
knocked out the opposition with an
amazing 90 foot pitch.
The COPS on the floor rise, scoop up weapons from dead Mangalores and lay
down a line of fire at the last of the fleeing rebels . Roy whirls his arm
in victory.
FOG
Thanks for your help.
KORBEN
Forget it.
Korben grabs Loc Rhod and takes him with him.
218 INT. KORBEN'S SUITE
Korben bursts into the room. He stares at the luminous bar still struck
to the ground and sees the hole Leeloo escaped through.
KORBEN
Leeloo???
219 INT. DIVA'S SUITE - CEILING
Leeloo in bleeding all over. She can barely move.
LEELOO
(feeble)
Kor... ban...
220 EXT. NEAR FHLOSTON
The ZFX 200 speeds back toward Fhloston Paradise.
221 INT. DIVA'S SUITE
The bomb timer now reads 10 minutes.
222 INT. POLICE STATION HALLWAY - FHLOSTON PARADISE
The last of the Mangalores have barricaded themselves in the back of the
station and shoot at anything that tries to enter. Korben joins the
policemen already there.
COP 1
Hey, who are you?
KORBEN
The winner of the Gemini Croquette contest.
Korben goes to the door and peeks around the corner. Loc Rhod arrives.
KORBEN
Seven to the left. Five to the right.
COP
What's he doing?
Korben leans around the corner and fires rapidly.
KORBEN
Six to the left. One to the right.
LOC RHOD
He's on vacation.
KORBEN
(reloading)
We got to find the leader. Mangalores
don't fight without a leader.
223 INT. POLICE STATION
Akanit gets up, grabs Cornelius by the throat and put a gun to his head.
AKANIT
One more shot and we start killing
hostages, got that?
224 INT. POLICE STATION HALLWAY
KORBEN
Found him...
AKANIT
(tense)
Send someone to negotiate!
KORBEN
Mind if I go? I'm an excellent
negotiator.
COP 1
Uh... Sure, go ahead.
Korben gets ready.
COP 1
We're sending someone in who's
authorized to negotiate.
225 INT. POLICE STATION
Korben walks quickly into the room, heads straight for Akanit, raises his
gun and puts a bullet through his head.
KORBEN
Anyone else want to negotiate?
COP 2
(to another Cop)
Where'd he learn to negotiate like that?
226 INT. PRESIDENT'S OFFICE
MUNRO
From us!
The President gives Munro a hard look.
227 INT. CONTROL ROOM
The police round up the remaining Mangalores. Korben is at the control
center screens trying to find Leeloo. Cornelius comes over to him,
embarrassed.
CORNELIUS
You're probably very angry with me and
I quite understand. But I want you to
know I'm fighting for a noble cause.
KORBEN
Yeah, I know... to save the world... but
right now all I want to do is save Leeloo.
CORNELIUS
Leeloo's in trouble?
KORBEN
When is she not in trouble?
CORNELIUS
Uh.. Have you tried the Diva's suite?
Korben realizes that Cornelius in probably right.
228 INT. FHLOSTON PARADISE LANDING DOCK AND GARAGE
The ZFX200 settles in the landing dock garage. SECURITY POLICE approach
the ship just as Zorg in getting out holding the ZF1.
POLICEMAN
More trouble?
ZORG
Nothing I can't fix myself.
He brings up the ZF1 and wipes out the garage.
229 INT. DIVA'S SUITE
Korben enters the Diva's suite which is in shambles. He looks
everywhere, but finds nothing.
230 INT. AIRSHAFT
Leeloo lies in a pool of blood. She hears something below her.
231 INT. DIVA'S SUITE
Exhausted, Loc Rhod wipes his forehead and finds himself face to face
with the bomb stuck on the wall.
Korben in busy looking for Leeloo.
KORBEN
(loudly)
Leeloo?
Up in the airshaft, Leeloo has heard him.
LEELOO
Korben...
Her voice is too weak, Korben can't hear her.
LOC RHOD
Korben man... what the hell is this?
Korben gives the bomb a prefunctory glance.
KORBEN
A molecular bomb.
Three minutes left on the timer.
LOC RHOD
(increasingly worried)
And, uh, what're these numbers clicking
by?
CORNELIUS
Probably the time remaining before it
explodes.
Cornelius smiles and continues his search.
LOC RHOD
(weak smile)
You're just saying that to scare me! Right?
If it was a bomb, an alarm would've gone off.
There's bomb detectors in all these hotels!
A general alarm goes off. Loc Rhod is crushed.
232 INT. MAIN HALL
The lights flicker.
VOICE (O.S.)
This is a Type A alert. For security reasons
the hotel must be evacuated. Please proceed
calmly to the lifeboats located in the main
hallways.
A wave of panic engulfs the hall. The cops are unable to hold back the
crowd as it stampedes to the exits.
233 INT. CORRIDOR
Zorg marches down the corridor shooting everyone in his path.
234 INT. DIVA'S SUITE
Loc Rhod stands paralyzed in front of the flashing timer. Less than two
minutes left.
LOC RHOD
Maybe we oughta be going,
what do you think?
KORBEN
Not without Leeloo.
Loc Rhod cannot take his eyes off the bomb.
LOC RHOD
Like D-Man, I hate to bother you but uh,
like, we're down to 2 minutes here...
Korben breathes out, bothered. He turns his attention to the bomb.
KORBEN
It's the latest model.. I've never seen one
before... it works off a magnetic coded
card... Let's see if I can rig it up.
235 INT. AIRSHAFT
Leeloo sticks her fingers out one of the bullet holes and lets some of
her blood drip down.
The blood splats on Korben's hand. He snaps his head up and knows
immediately who is up there. He forgets about the bomb.
LOC RHOD
Hey! What are you doing? The bomb!
Korben drags the desk over, jumps on it and pokes his head in the torn up
airshaft He spots Leeloo who gives him a weak smile.
KORBEN
Don't worry, I'm here now!
He pulls her toward him, helps her out of the shaft and stretches her out
on the desk.
KORBEN
Just relax. I've got the Stones.
Everything's going to be fine.
30 seconds left on the timer.
LOC RHOD
(falling to pieces)
Like Korben, can I have 30 seconds of
your time here?
KORBEN
(to Leeloo)
I'll be right back.
Korben dashes over to the bomb. He is stopped by the barrel of the ZF1.
Zorg, in person, holding a magnetic card.
ZORG
(smiling)
Allow me...
Zorg slips a small magnetic card in the bomb, it starts to count down
from 5 minutes.
ZORG
Just for the fun of it.
Loc Rhod faints.
ZORG
Well, what do we have here? Is this
Korben Dallas? The famous winner of
the Gemini Croquette contest?
Or is this Korben Dallas from Special
Section sent by old Lindberg himself.
Korben doesn't reply.
ZORG
...In any event, whoever you are,
I was glad to meet you.
Zorg fires at Korben who figures he is dead. Nothing. Zorg tries again.
Nada. The clip is empty. Zorg starts to panic.
ZORG
...A 3000 round clip! I didn't fire off
3000 rounds... did I?
KORBEN
Don't you know how to count.
It's not all that hard. Watch!
Korben punches him square in the face, shows him his index.
KORBEN
One! That's for trying to kill me!
Second Punch.
KORBEN
Two! That's for firing me! Three!
That's for pushing around a priest!
And the rest is for what you did to
my wife!
Korben pummels him mercilessly.
236 INT. PRESIDENT'S OFFICE
President Lindberg prefers closing his eyes. Munro's shoulders move as
if he were beating on Zorg.
237 INT. DIVA'S SUITE
Zorg falls to the floor, beaten to a pulp. The timer clicks over to 3
minutes.
KORBEN
We're outta here!
He picks Leeloo up in his arms.
Cornelius grabs Loc Rhod and gives him a resounding slap.
LOC RHOD
Are you nuts, Father? That hurts! I
can't feel my teeth.
CORNELIUS
Doesn't matter all you need are your
legs.
238 EXT. FHLOSTON PARADISE - NIGHT
The lifeboats launch from the hotel and fly out into space.
239 INT. FHLOSTON PARADISE LANDING DOCK GARAGE
Korben, carrying Leeloo, Cornelius and Loc Rhod are in the garage.
VOICE (O.S.)
Two minutes to complete evacuation...
Korben bursts the lock on the first ship he finds and enters followed by
Cornelius and Loc Rhod. The ZFX200.
240 INT. DIVA'S SUITE
Zorg starts to come around.
241 INT. ZFX200
Korben sets Leeloo down.
242 INT. DIVA'S SUITE
Zorg picks up his ZF1, unaware of the bomb and the countdown.
ZORG
I didn't fire three thousand rounds...
243 INT. ZFX2O0 COCKPIT
VOICE (O.S.)
One minute to total evacuation...
LOC RHOD
You know how to fly this thing?
KORBEN
(concentrating)
It's like a cab isn't it?
VOICE
30 seconds...
KORBEN
Anyone know how to release the lines
on this crate?
244 INT. DIVA'S SUITE
Zorg is busy with the ZF1 when the bomb starts to BEEP signaling the last
ten seconds. Zorg is terror stricken. He pushes a button and holds the
ZF1 over his head.
ZORG
(loudly)
Maximum Protection.
A mauve-colored magnetic shield closes around Zorg like an indestructible
sarcophagus.
245 INT. ZFX200 COCKPIT
Cornelius and Loc Rhod are bent over the buttons looking for a way to
release the lines.
VOICE (O.S.)
6... 5...
KORBEN
Found it?
Loc Rhod searches frantically.
LOC RHOD
I don't even know what I'm looking for!
KORBEN
Fuck it! Hold tight!
Korben slams the throttle into full forward. The ship roars away ripping
the lines to shreds.
Loc Rhod is thrown to the rear of the ship.
CUT TO:
The counter goes 1... 0
-The suite disintegrates - The corridor is consumed.
-The main hall is no more.
246 EXT. FHLOSTON PARADISE
The ZFX200 jets away as the enormous oceanliner explodes behind it.
247 INT. ZFX200
The ship stops shaking. That was a close one. Everyone's relieved.
KORBEN
Solid little jobs, aren't they?
LOC RHOD
(broadcasting, exhausted)
Dear listeners, your favorite DJ is alive and
kicking. It's seven o'clock and time for the
news. Tune in tomorrow for another adventure.
VOCODER (O.S.)
Beep. End of transmission.
Loc Rhod lets out a huge sigh.
LOC RHOD
(to the others)
The best show I ever did!
248 EXT. PLANET FHLOSTON
A magnetic sarcophagus crosses the Fhloston sky and crashes into a
glacier.
249 EXT. FHLOSTON
Zorg appears in the middle of the ice. He takes a portable phone out of
the ZF1.
ZORG
How's that? Can you hear me better
now?
SECRETARY (O.S.)
Yes, Mr. Zorg, I hear you perfectly!
So, how was the concert?
ZORG
Who gives a shit! I didn't come here to
listen to music! Listen up instead of
running off at the mouth!
The batteries on my phone are almost gone.
SECRETARY (O.S.)
Yes, Sir!
ZORG
Dispatch me another ZFX200 immediately.
Someone stole mine.
SECRETARY (O.S.)
Right away, Sir. I'll send you a new one to
the hotel.
ZORG
I'm not at the hotel!
ZORG
Hello?...
BEEPER (O.S.)
Battery dead.
Zorg is all alone, lost, in the middle of the glacier.
ZORG
(to himself)
Stay calm.... stay calm...
250 INT. PRESIDENT'S OFFICE
General Munro enters the office with a smile.
MUNRO
Major Dallas has the Five Elements on
board. The priest is guiding them directly
to the temple.
President Lindberg closes his eyes in relief.
PRESIDENT
Thank God! We've been saved!
A SCIENTIST rushes in.
SCIENTIST
Mr. President.
PRESIDENT
Yes? Now, what?
251 EXT. SPACE
A ball of fire, all-powerful Evil, speeds across the screen with three
Federal Army warships following along behind it as best they can.
252 INT. PRESIDENT'S OFFICE
PRESIDENT
What do you mean, "its advancing"?!
253 INT. COCKPIT FEDERATED WARSHIP
COMMANDER
It's not only advancing, but it's moving at
incredible speed! We're having trouble
following it.
254 INT. PRESIDENT'S OFFICE
PRESIDENT
(to Scientist)
...And... Do you have any idea where it's
heading?
The scientist is hard to put to answer, he shakes his head.
255 INT. ZFX200 COCKPIT - NIGHT
Korben gently wipes Leeloo's forehead with a cloth. She opens her eyes a
little.
KORBEN
(gentle, loving)
Apipoulai..
Leeloo smiles, weakly, feverish.
LEELOO
I'm so very sad.
KORBEN
Why? We did pretty well, wouldn't
you say?
LEELOO
Five hundred wars... Arms... Drugs...
Money...
Everything you create is used to destroy...
KORBEN
I told you not to read all that crap!
LEELOO
Protect life... Until death.
Her eyes close and she falls back asleep. Korben is worried. She seems
so depressed. Cornelius enters.
CORNELIUS
There's a General on the phone...
His name's Mambo, I think.
256 INT. PRESIDENT'S OFFICE
MUNRO
Munro here. President Lindberg wants
to talk to you. Hold the line.
The President clears his throat and takes the phone.
PRESIDENT
Major, first off, I want to thank you,
in my name and in the name of the
Federation...
257 INT. ZFX200 / PRESIDENT'S OFFICE
PRESIDENT (O.S.)
For the praiseworthy courage you have
shown us! I'd like to congratulate General
Munro for his choice. He found the ideal
man for such a...
KORBEN
(to the point)
So now what's the problem?
The President drops into his armchair and sighs.
PRESIDENT
There's a ball of fire 1,200 miles in diameter
heading straight for the earth. And we have
no idea how to stop it! ...That's the problem.
Korben thinks fast. The Priest is with him. The Five Elements are on
board.
KORBEN
How much time before the collision?
The President queries the scientist with a nod of the head.
SCIENTIST
If its speed remains constant... in an
hour and 57 minutes.
KORBEN (O.S.)
I'll call you back in two hours.
Korben hangs up. The President looks stunned.
258 EXT. SPACE
The ZFX200 shifts to the speed of light and vanishes in the star-studded
cosmos.
259 INT. CHAPEL
David is asleep. He is woken by the sound of...
260 EXT. DESERT - DAWN
The ZFX200 is parked in the middle of the desert.
Korben walks ahead carrying Leeloo. Cornelius has the four Stones with
him.
Barely awake, Loc Rhod stumbles along. David appears at the door of the
chapel.
DAVID
You're all safe. Thanks be to God!
CORNELIUS
Later, David! Later!
There's not a minute to lose!
The small group enters the chapel.
261 INT. CHAPEL
Cornelius pushes the group onto the altar which is surrounded by a wooden
barrier. Cornelius stands in front of the cross.
KORBEN
Excuse me, Father, but... could we pray
later?
Cornelius bends the cross and pushes it down. A mechanism is set off
lowering the altar like a service elevator.
The altar descends amid rocky walls.
262 INT. PRESIDENT'S OFFICE
MUNRO
They just landed in the desert.
PRESIDENT
(sweating)
How much time is left?
263 EXT. SPACE
Earth is in view. The Dark Planet fills the screen and heads for the
blue planet.
264 INT. PRESIDENT'S OFFICE
SCIENTIST
About nine minutes.
President Lindberg has trouble breathing.
265 INT. TEMPLE
Lit by torches, Korben sets Leeloo delicately on the altar in the exact
center of the four elements. Cornelius looks over the four Stones every
which way.
CORNELIUS
(panic-stricken)
Uh, this one... must be water!
It's obvious he doesn't know where to put it.
KORBEN
Don't tell me you don't know how all
this works?
CORNELIUS
Theoretically, yes! The four Stones form
the beam and the Fifth Element is supposed
to stand in the middle there, but...
I don't have the reference book.
I've never seen the Stones work!
Korben can't believe his ears. He tears the Stone out of Cornelius' hand
and studies the inscriptions. He goes over to one of the four bases the
stones rest on and tries to figure it out. The symbol of air is on the Stone,
the same as on the base.
KORBEN
Match the symbols!
Korben places the first Stone and picks up another one. Cornelius has
found the symbol for water. Loc Rhod sits down. He is very tired.
LOC RHOD
What is this some kinda game? Like
chess?
Korben pulls him to his feet and sticks a Stone in his hands.
KORBEN
No. It's much simpler. If we don't figure
out where these Stones go in five minutes,
we're all dead! Think you got it?
Loc Rhod's got it and runs over to put in his Stone. The four Stones are
all in place but nothing happens.
KORBEN
There's no light! You told me there were
supposed to be four beams of light.
CORNELIUS
(lost)
Yes, of course, but... The Stones are shut!
They have to be open for it to work.
KORBEN
And you don't know how they open,
is that what you are saying?
CORNELIUS
That's what I'm saying.
266 EXT. SPACE
The Dark Planet closes in on Earth rapidly.
267 INT. CHAPEL
Korben leans over Leeloo.
KORBEN
Leeloo? The Stones! We have to open
them! How does it work?
LEELOO
(feeble)
The wind blows... the fire burns...
KORBEN
I know all that, Leeloo! I'm talking
about the Stones.
LEELOO
...The rain falls...
Korben is desperate. Leeloo's too weak, he won't get anything more out
of her.
He darts over to a Stone and turns it over and over.
KORBEN
The rain falls... the wind blows?
Loc Rhod stands in front of his Stone looking at Korben.
KORBEN
Try and figure out how this fucking thing
opens, instead of staring at me like that!
Loc Rhod starts feeling the Stone all around.
LOC RHOD
(afraid)
I'm looking, I'm looking.
268 INT. PRESIDENT'S OFFICE
The tension is palpable in the President's office.
SCIENTIST
...Three minutes.
MUNRO
We've lost contact with them.
269 INT. CHAPEL
Korben and Cornelius turn the Stones every which way. All to no avai1.
Loc Rhod is discouraged.
LOC RHOD
...we'll never make it.
He sighs. Three hooks pop off the Stone. Loc Rhod can't believe his
eyes.
LOC RHOD
It... it moved! Korben! Korben!
Korben rushes over, looks at the Stone. Hooks are undone.
KORBEN
What did you say? What did you do?
LOC RHOD
Nothing! Swear to God, I didn't do
nothing!
KORBEN
Look, you did something that set it off.
Try to remember. Concentrate. Tell me
exactly what you did!!
Loc Rhod tries to duplicate the same movement.
LOC RHOD
I was like this... With my hands here and...
I said, "We'll never make it!" That's all!
Nothing happens.
KORBEN
Is that all?
LOC RHOD
Yeah... then I sighed... like this.
Loc Rhod sighs, really depressed this time. The Stone opens even more.
Korben's got it.
KORBEN
The wind! The wind blows...
Korben blows on the Stone which immediately opens revealing a patch of
blue sky with some miniature clouds floating around inside. A yellow beam
pops up like a ray of sunlight, like Korben's smile.
KORBEN
Quickly, everyone on a Stone!
Water for water! Fire for fire!
Earth for earth!
The two men move fast. Korben on the 4th Stone: Earth. He grabs a
fistful of earth and throws it on the Stone. A miniature patch of green
appears and immediately forms a green beam. Cornelius wipes his forehead
with a scarf and wrings it out over the Stone. It opens revealing a patch of
miniature raging sea. A blue beam appears.
Loc Rhod has a problem.
LOC RHOD
(shaking)
I don't have a light. I stopped smoking
last week! If we'd come a bit sooner...
Korben pats his pockets, he comes up with a box of matches. There's only
one left.
KORBEN
Don't breathe.
Loc Rhod and Cornelius hold their breath. Korben strikes the match. A
small flame appears on the tip. A breeze goes through the room. Korben
feels like he's got TNT in his hands. He approaches the flame to the Stone.
The flame twists, dims, flickers ...but holds on. The Stone opens. A patch
of miniature fire appears. Korben sighs, snuffs out the match. The fourth
beam, a red one, immediately forms.
270 EXT. SPACE
A mass of fire fills the screen. The Earth is only a thousand miles
away.
271 INT. PRESIDENT'S OFFICE
SCIENTIST
Two more minutes.
The President shuts his eyes. His lids move in prayer.
272 INT. CHAPEL
Korben helps Leeloo onto her feet where the four beams and four colors
crisscross.
KORBEN
It's up to you now, Angel!
LEELOO
I'm so tired...
KORBEN
You can sleep tomorrow... come on...
LEELOO
I want to sleep... forever...
KORBEN
Leeloo! Listen to me! I'll take you on
a vacation afterwards! A real vacation,
this time, for as long as you want.
Come on! You can do it!
Korben slowly releases Leeloo and steps back from the altar.
Leeloo can barely stand in the center of the four beams.
An indistinct white beam begins to form around her, starts to rise.
CORNELIUS
Come on Leeloo! Come on!
The beam loses its intensity. Leeloo crumples to the floor.
273 EXT. SPACE
The Dark Planet hurtles toward Earth. A hundred miles before impact.
The African continent is visible. No doubt about it: The fireball is
heading right for Egypt.
274 INT. PRESIDENT'S OFFICE
Seconds tick away relentlessly on the scientist's stopwatch.
SCIENTIST
It'll be entering the atmosphere in one
minute.
275 INT. CHAPEL
The heat in the temple is unbearable. All the walls start to ooze the
same horrible black slimy liquid seen at Zorg's. A drop of liquid falls to
the temple floor and begins to smoke, eating away at it like acid. Loc
Rhod has to dodge another drop of the stuff. Korben quickly straightens
Leeloo up and puts her back in the center of the beams.
KORBEN
Leeloo! If you don't get on with the
program we're all gonna die! And that's
not on my agenda for today.
Leeloo wraps her arms around Korben's neck.
LEELOO
(weak)
What's the use of saving lives...
when you see what you do with them!
KORBEN
You're right but there are lots of good
things... beautiful things...
LEELOO
...Like love...
KORBEN
Exactly.
LEELOO
But I don't know love... I'm like a machine
programmed to save other people's lives but
never to have one of my own.
276 INT. PRESIDENT'S OFFICE
The Scientist's stopwatch goes from 30 to 29 seconds.
277 INT. CHAPEL
LEELOO
I have thousands of memories but none
of them are mine... There is no need for
me other than this. I'm immortal but I have
no life.
KORBEN
Yes, you do! I need you. More than you
can imagine! Stand up straight!
LEELOO
Why?... Why would you need me?
KORBEN
Because...
CORNELIUS
(to himself)
Tell her, for God's sake!
A bit of the black acid falls on Loc Rhod's shirt setting it on fire. He
rips if off.
CUT TO:
278 INT. CHAPEL
KORBEN
Because...
Leeloo has tears in her eyes. The heat is overpowering. Black acid is
everywhere.
LEELOO
Tell me...
KORBEN
I love you...
Despite her fatigue, Leeloo smiles broadly.
CUT TO:
278b INT. PRESIDENT'S OFFICE
The stopwatch goes from 3 to 2.
279 INT. CHAPEL
LEELOO
Now you're allowed to kiss me.
- Korben wraps his arms around her and kisses her like he's never kissed
anybody before. - The white beam, the Divine Light, immediately forms
around Leeloo and Korben. - The stopwatch hits zero. - The Absolute Beam
explodes from the top of the pyramid and heads straight into the sky zapping
the fireball smack in the middle, slowing it down. - Korben and Leeloo kiss
like there was no tomorrow.
- The beam hardens and slowly solidifies the Evil Planet. Inaudible
screeches escape from the dying planet. Screeches of terrifying pain as if a
million souls were dying.
- Streams of black acid spurt from the pyramid and solidify like
brilliant stalactites.
280 EXT. SPACE
The pure beam, the Light of Life, has finished its work. The Dark Planet
nothing more than a dead planet.
Strangely enough, it looks like the moon. Everything is calm around it.
281 INT. PRESIDENT'S OFFICE
President Lindberg opens his eyes and realizes he's not dead-
SCIENTIST
The planet seems to have stopped at...
62 miles from impact.
282 INT. CHAPEL
In the temple, the beam loses its intensity. But Leeloo and Korben
remain stuck together, lost in their kiss. Cornelius has dropped to his
knees, clutching his hands.
Loc Rhod slips along the wall with a sigh. He gives Cornelius a knowing
smile.
LOC RHOD
This guy is a killer with the babes.
I knew it from the moment I laid eyes
on him.
Cornelius and Loc Rhod burst out laughing. Korben and Leeloo keep on
kissing.
283 INT. LABORATORY
We are in the Nucleological Laboratory that gave birth to Leeloo in the
beginning of our story. The President enters the lab followed by a group
of officials in ceremonial dress.
MUNRO
Mr. President, let me introduce you to
Professor Mactilburgh, who runs the center.
MACTILBURGH
It's an honor to receive you. Mr. President.
PRESIDENT
(beaming)
Yes.. Well? Where are our two heroes?
MACTILBURGH
They were so tired from their ordeal that
we put them in the reactor this morning..
PRESIDENT
I have 19 more meetings after this one
Professor..
PROFESSOR
Of course.. Let me see if they're revived.
AIDE
We go live in one minute, Mr. President.
Mactilburgh goes to the reactor and opens a small slot which allows him
to see what is going on under the blue shield.
Leeloo and Korben are naked, arms wrapped around each other, kissing and
probably engaged in hoppi hoppa.
Mactilburgh looks troubled.
MACTILBURGH
I.. uh.. they need five more minutes,
Mr. President.
The President, pressed for time, looks over to his aide who in struggling
with a phone call.
AIDE
No ma'am... I tried... No ma'am...
PRESIDENT
Who is it?
AIDE
Some woman... claims she's Korben's
mother...
PRESIDENT
Give it here...
The President takes the phone and goes to the window.
PRESIDENT
Mrs. Dallas, this in the President.
On behalf of the entire Federation,
I would like to thank...
MOTHER (V.O.)
Don't pull that crap with me, Finger...
I'd recognize that trash can voice of
yours in a dark alley during a rain storm.
You tell that worthless no account son
of mine he should plotz for the way he's
ignored his mother... when I think of all I
sacrificed for him...
284 EXT. NEW YORK
Outside the lab we see the President through the window, holding the
phone away from his ear.
PAN slowly across Manhattan.
Credits Roll as TWO full rising silver moons ascend in the dark blue sky.
THE END
<html>
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<title>"8MM", by Andrew Kevin Walker</title>
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<body bgcolor="#FFFFFF">
<pre>
eight millimeter
written by
Andrew Kevin Walker
5/06/97
first
INT. MIAMI AIRPORT, TERMINAL -- DAY
Amongst the weary tourist families and solitary businessmen
sits TOM WELLES, middle-aged, hair neat, suit crisp and
gray. He's eating crackers from a cellophane package,
sipping soda from a paper cup, watching an ARRIVAL GATE.
AT THE GATE
PASSENGERS arrive: the paunchy, graying men of First Class
leading the pack, except for a handsome YOUNG REPUBLICAN
poster boy hurrying along.
ACROSS THE TERMINAL
Welles gets up and FOLLOWS...
EXT. MIAMI AIRPORT, CURBSIDE -- DAY
Welles comes outside, squinting in the sun, moving down the
sidewalk, looking back over his shoulder...
The Young Republican is lead to a waiting LIMO by a DRIVER.
Welles moves to the nearby TAXI STAND...
INT. TAXI -- DAY
Welles gets in, turning in his seat to watch behind.
CAB DRIVER
Where to?
Welles keeps watching, sees the limo pull away and pass.
WELLES
Follow that limousine. Don't get
too close, don't let it get too far
away. Just keep with it.
CAB DRIVER
You kidding?
WELLES
Nope.
The cab set in motion. Welles takes out cigarettes,
lighting one, takes out a small NOTEPAD and makes notations.
CAB DRIVER
Uh, listen... you're not supposed to
be smoking in here. I'm sorry,
that's company policy...
WELLES
How about this... every cigarette I
smoke, I give you five dollars?
CAB DRIVER
Okay... okay, yeah, that'd be good...
EXT. MIAMI BEACH, "GOLD COAST" -- DAY
In front of an Art Deco hotel, the driver opens the
limousine door and the Young Republican steps out.
ACROSS THE STREET
Welles watches from inside the double-parked taxicab.
EXT. MIAMI BEACH MOTOR LODGE -- DAY
Not exactly four-star. "<b>AD LT MOVIES EVERY ROOM.</b>"
INT. MIAMI BEACH MOTOR LODGE -- DAY
Welles is asleep on the bed, full dressed, hands folded
across his stomach, snoring lightly, sweaty.
INT. MIAMI BEACH MOTOR LODGE, RESTAURANT -- DAY
Welles sits alone at the bar, eating a sandwich, bored. He
watches some fuzzy ESPN on the t.v., looks at his watch.
EXT. MIAMI BEACH MOTOR LODGE -- DAY
Welles walks across the parking lot, gets into his RENTAL
CAR, starts it and drives away.
EXT. MIAMI BEACH DISCOTHEQUE -- NIGHT
Young Republican and a GAUDY WOMAN exit the disco, MUSIC
THROBBING out from the doors behind them. They join hands,
drunk, heading to the street, looking for their limo.
DOWN THE STREET
Welles is seated in his parked rental car, raises a CAMERA
with TELEPHOTO LENS: whir, CLICK, whir, CLICK, whir, CLICK...
Welles lowers the camera, letting out a yawn.
INT. AIRPLANE, COACH -- NIGHT
The familiar DRONE of flight. Welles is shoehorned into his
aisle seat, using tiny utensils to eat his tiny meal.
An OLDER WOMAN arrives in the aisle. Welles picks up his
tray, closes his tray table, unbuckling his seatbelt,
struggling to get up... finally successful, balancing his
tray, letting the woman in to the window seat.
OLDER WOMAN
Thank you.
Welles nods, forcing a smile, sitting back down. He returns
to toiling over his miniature supper.
EXT. HARRISBURG INTERNATIONAL AIRPORT -- NIGHT
Welles' AIRPLANE ROARS down with a SCREECH, landing lights
gleaming. The airport is small, relatively isolated.
TITLE: <b>Harrisburg, Pennsylvania</b>
INT. HARRISBURG INTERNATIONAL AIRPORT -- NIGHT
Passengers arrive. Welles is with them, searching the few
PEOPLE waiting in the terminal hallway. Welles smiles...
Welles' wife, AMY, smiles when she sees him. She's plain
and pretty, holding one hand on a BABY STROLLER beside her.
Welles comes to her, embracing her, appreciating her.
AMY
Welcome home.
WELLES
Do you know how much I missed you?
They kiss, but Amy pulls away, sniffs him.
AMY
What's this... have you been
smoking... ?
WELLES
Smoking? I'm not smoking.
AMY
Your clothing reeks of it.
WELLES
You know, Amy, I've been sitting
around in bars and everywhere
following this guy... I mean, is
this what I get first thing? Before
you even "hello," you accuse me... ?
AMY
I'm not accusing you...
WELLES
Well, I'm not smoking, okay?
AMY
Okay, I believe you.
WELLES
We've been all through that. I've
been on my best behavior.
Welles bends to the stroller, picks up his infant daughter,
CINDY, and hoists her in the air, overjoyed.
WELLES
Hello, pumpkin-head, did you miss
me? I sure missed you...
He kisses the happy child, holding her in one arm.
WELLES
Let's get my bags and get the hell
out of here.
Welles pulls Amy close and kisses her again, leads the way.
Amy follows, pushing the stroller.
AMY
How's the detective business?
WELLES
Business was fine. I'll tell you
what, you couldn't pay me enough to
live down there.
AMY
You better not be smoking, that's
all I can say.
WELLES
Honey, I'm not, please...
Amy takes Welles hand, smiling at him.
INT. WELLES' HOUSE, BEDROOM -- NIGHT
Welles and Amy make love in the darkness. Standard,
missionary position sex, little passion. They slow to a
finish, uneventfully, holding each other. Their breathing
quiets. Their daughter CINDY can be HEARD CRYING elsewhere.
Welles kisses his wife again, rolls off of her and sits on
the edge of the bed. Amy covers herself.
AMY
I love you.
WELLES
I love you.
He looks towards her in the dark. He gets up, gets a towel
from the bathroom and wraps it around him.
INT. WELLES' HOUSE, BABY'S ROOM -- NIGHT
Cindy's crying. Welles enters, goes to lean into the crib.
WELLES
What's all the trouble, Cinderella?
What are you crying about, huh?
He lifts and cradles Cindy, comforting her.
EXT. HARRISBURG CITYSCAPE -- ESTABLISHING --DAY
A small city of moderate architecture facing the Susquehanna.
INT. OFFICE -- DAY
An old money office with windows over the river. A well-to-
do POLITICIAN looks unhappily through PHOTOS on his desk.
Welles sits by the Pennsylvania state flag, watching.
PHOTOS show the Young Republican and Gaudy Woman in Miami:
leaving the Art Deco hotel, the Discotheque, a restaurant...
WELLES
Your son-in-law dealt with the dry
cleaning franchise during the day,
saw that woman every night.
(clears his throat)
The specifics are in the report, and
information about the woman. It's
unpleasant, I know. I apologize...
POLITICIAN
None too discreet, is he?
WELLES
No, sir, he is not.
POLITICIAN
He's an imbecile. I tried to warn
my daughter, but what can you do?
The politician shakes his head in disgust. Welles rises.
WELLES
The um... you'll find my invoice in
the envelope. If that's all...
POLITICIAN
Yes, Mister Welles, thank you.
WELLES
Certainly, Senator. If I can ever
be of further assistance.
Welles leaves, glances back, shuts the door.
EXT. HARRISBURG STREETS -- DAY
Welles drives his plain Ford past the CAPITAL BUILDING.
EXT. HARRISBURG, BRIDGE -- DAY
Welles' car crosses the Susquehanna, leaving the city.
EXT. WELLES' HOUSE, BACKYARD -- DAY
Sunny day. Welles wears tan khakis, T-shirt and fishing
cap, mowing his lawn with his ROARING lawnmower. Welles'
yard is modest, surrounding his modest split level suburban
one in a neighborhood of similar homes and similar yards.
Welles turns the lawnmower, stopping to mop his brow. One
of his neighbors is repainting a back porch. The neighbor
waves. Welles waves, resumes mowing.
INT. BOWLING ALLEY -- NIGHT
MUSIC'S LOUD. League Night. Every lane full. Welles is
with his team in BOWLING SHIRTS. Welles hoists his ball,
preparing to bowl. He takes three steps, releases...
Down the lane, PINS SCATTER. One pin remains standing.
Welles balls up his fists and curses, walks back towards his
rowdy, mocking teammates. He shouts back at them, laughing,
grabbing his beer and drinking, waiting at the ball return.
INT. WELLES' HOUSE, KITCHEN -- NIGHT
Dinner. Welles and Amy eat at the kitchen table with Cindy
in a high chair. Amy feeds Cindy between bites. Welles is
still in his league shirt.
AMY
You think you'll have time for the
water heater this weekend?
WELLES
Sure. I'll call the guy.
AMY
You're not using the same guy who
tried to fix it?
WELLES
I'm not using him again for
anything. He was worthless.
(eating)
You have bridge here Saturday?
AMY
Betty's out of town so we're playing
next week.
Welles nods, eating. He watches Amy feed Cindy. The PHONE
starts RINGING. Welles goes to answer it.
WELLES
(into PHONE)
Hello. Yes... could you hold on a
minute...?
Welles hands the phone to Amy, pats Cindy's head as he heads
downstairs, through the LIVING ROOM...
INT. WELLES' HOUSE, OFFICE -- NIGHT
Welles enters his well kept OFFICE, turns on a light at the
desk. The room is filled with FILE CABINETS and shelves of
BOOKS, hundreds of PHONE BOOKS and a COPY MACHINE. Welles
picks up the phone and cups the receiver.
WELLES
(shouts upstairs)
Okay, I've got it.
(into phone)
Hello... sorry, I was switching
phones. It's a pleasure to make
your acquaintance, Mrs. Christian.
(listens)
Yes. Yes, I understand... tomorrow
evening should be fine...
Welles listens, clears space on his desk, taking notes.
EXT. CHRISTIAN COMPOUND -- DUSK
A huge OLD WORLD MANSION is situated at the center of acres
of Pennsylvania forest and vast gardens. Welles' car heads
down a long tree lined drive, to the dark mansion.
INT. CHRISTIAN HOUSE, HALLWAY -- NIGHT
Welles follows a BUTLER down a long hall.
INT. CHRISTIAN HOUSE, LIBRARY -- NIGHT
The butler shows Welles in, shuts the door.
Towering SHELVES of BOOKS are serviced by ladders. Far
across the room, an old, sad woman, MRS. CHRISTIAN, sits
waiting with a tall, thin, sinister ghoul of a LAWYER.
MRS CHRISTIAN
Mister Welles. You're very prompt.
WELLES
I try to be.
Welles crosses towards them. It takes a while.
MRS CHRISTIAN
I appreciate your coming on such
short notice.
Mrs. Christian holds out her hand and Welles takes it.
MRS CHRISTIAN
This is Mister Longdale, my late
husband's attorney.
Welles shakes Longdale's limp hand, looking him over.
WELLES
Uh huh, pleasure.
MRS CHRISTIAN
Apparently Mr. Longdale has
something he feels he simply must
say before you and I speak.
LONGDALE
Yes, I do have something to say. I
insisted on being here as soon as I
heard Mrs. Christian contacted you.
WELLES
I'm listening.
LONGDALE
As Mr. Christian's attorney and one
of the executors of his estate, it
concerns me that a meeting of this
sort should take place without my
being asked to attend.
WELLES
Of what sort?
LONGDALE
You are a private investigator?
WELLES
That's right.
LONGDALE
Well, whatever reasons Mrs.
Christian has for engaging the
services of a private investigator,
I should certainly be a party to.
But, since she feels differently, I
can only go on the record as having
expressed my adamant disapproval.
MRS CHRISTIAN
Yes, how theatrical. So you've gone
on the record, and now perhaps you
should just be gone.
Longdale's irritated, but has no choice. He walks away.
MRS CHRISTIAN
Have a pleasant evening.
(to Welles)
Will you have tea, Mister Welles?
WELLES
Thank you.
Mrs. Christian begins pouring tea from the service on a
table. Welles watches Longdale exit.
WELLES
He's odd.
MRS CHRISTIAN
He's a lawyer.
(offers tea)
Please, sit, here...
Welles accepts a dainty tea cup and saucer, taking a seat.
MRS CHRISTIAN
I've spoken to friends of mine and
my husband's, in Harrisburg, in
Lancaster and Hershey. Asking about
you. I must say you have friends in
influential places.
WELLES
I've been privileged to provide
services for people I admire.
MRS CHRISTIAN
You are highly recommended. Praised
for your discretion... your strict
adherence to confidentiality.
Welles nods, sipping tea.
MRS CHRISTIAN
As you know, my husband passed away
recently. Two weeks ago now.
WELLES
My condolences.
MRS CHRISTIAN
His passing has left me with...
something of a dilemma. A terrible,
terrible dilemma.
WELLES
I'll do whatever I can to help.
Mrs. Christian studies Welles.
INT. CHRISTIAN HOUSE, MR CHRISTIAN'S OFFICE -- NIGHT
Mrs. Christian and Welles enter. This office has been lived
in for a lifetime. Giant DESK. AMERICAN FLAG. Walls
covered in old b+w PHOTOGRAPHS and ACHIEVEMENTS. A large,
baked enamel sign nailed up, "<b>CHRISTIAN STEEL.</b>"
MRS CHRISTIAN
His inner sanctum.
Welles looks up at the OIL PAINTING over the fireplace: MR.
CHRISTIAN, a powerful, old man, posed with a dark, teeming,
industrial landscape behind him.
MRS CHRISTIAN
Not many people have been inside
this room.
Welles examines PHOTOS of Mr. Christian visiting various
STEEL PLANTS, COAL MINES and ground-breaking ceremonies,
shaking hands with WORKMEN, with POLITICIANS.
WELLES
Pittsburgh?
MRS CHRISTIAN
Mostly. That's where he started his
empire building.
(looks up at portrait)
He was a good man. Notorious as an
eccentric, but that was something he
cultivated. He <u>wanted</u> to be
legendary.
WELLES
He succeeded.
MRS CHRISTIAN
We were married forty-five years.
Hard even for me to imagine. We had
our troubles. There were plenty of
places for him to be other than
here, but he was always loyal to me,
and I to him. I loved him deeply.
Welles waits.
MRS CHRISTIAN
Do you carry a gun, Mr. Welles?
WELLES
I wear a gun when I can tell a
client expects me to. Other than
that, there's never any reason.
MRS CHRISTIAN
Just curious.
Mrs. Christian crosses to take down a PICTURE, revealing a
WALL SAFE. The safe is ajar, burnt and scarred, broken into.
MRS CHRISTIAN
My husband was the only one with the
combination to this safe. I knew
about it, but as far as I was
concerned it was none of my
business. Not till now, that is.
WELLES
You hired someone to open it. I'll
bet the lawyer loved that.
MRS CHRISTIAN
There was nothing he could do. My
husband left everything to me.
(looks at safe)
I prevented anyone from seeing the
contents. I felt these were my
husband's private things. I
didn't... I didn't realize...
WELLES
Do you want to tell me what you
found?
MRS CHRISTIAN
Cash, stock certificates, and this...
She takes something from her pocket, puts it on the desk: a
plastic bag containing a short 8MM FILM on a plastic reel.
MRS CHRISTIAN
It's a film... of a girl being
murdered.
WELLES
I'm afraid I don't...
MRS CHRISTIAN
This is a movie showing a girl being
murdered. She's sitting on a bed,
and a man rapes her... and he begins
to cut her with a knife...
(pause)
I only watched what I could.
Welles picks up the film, looks at it.
MRS CHRISTIAN
I didn't know what to think. I
can't tell you how horrible it's
been, to know this belonged to my
husband. To know that he watched
this... this atrocity. But, I can't
go to the police...
WELLES
Mrs. Christian... please, will you
sit down a moment?
(leads her to a chair)
I want you to listen carefully.
What you're talking about is a
"snuff film." But, from what I
know, snuff films are a kind of...
urban myth. Like, red light
district folklore. There's no such
thing, I can assure you.
Mrs. Christian shakes her head.
WELLES
Please, believe me. This is
probably a stag film. Simulated
rape. Hard to stomach, and it might
seem real, but there are ways of
making it look realistic... fake
blood and special effects...
MRS CHRISTIAN
No.
WELLES
If you were to study it you'd see
the camera cutting away... you'd see
the tricks they can play...
MRS CHRISTIAN
I'm telling you it's not that.
WELLES
I'm sure it is.
(smiles)
It's probably something your husband
was given as a bad joke. More than
likely he never even watched it.
MRS CHRISTIAN
Will you watch it and see for
yourself?
WELLES
Of course. But, I'm certain it's
nothing to worry about.
INT. CHRISTIAN HOUSE, DINING ROOM -- NIGHT
An 8MM PROJECTOR faces a wall. Welles looks back to Mrs.
Christian in the doorway. Mrs. Christian leaves, shuts the
door. Darkness. Welles turns on the projector and sits.
The PROJECTOR CLATTERS, shooting bright images...
ON THE WALL: FLASH FRAMES, over exposure, then... the grainy
FILM is HAND HELD, constantly in motion, showing a skinny
GIRL, 16 or 17, in a negligee, sitting on a bed in a
nondescript room with little furniture. Looks like a hotel
room. We only ever see three walls. The once beautiful
girl looks worn, drugged, dark circles under her eyes,
staring blankly. The CAMERA'S tungsten SPOTLIGHT casts
long, shifting shadows as the camera moves, but the girl
still stares oblivious. The bed is wrapped in PLASTIC and
DUCT TAPE. The floor is covered by PLASTIC SHEETING...
Welles watches, crossing his arms, already uncomfortable.
ON THE WALL: a door opens behind the girl, looks like a
bathroom, and a MASKED MAN enters.
The Masked Man wears a garish, Mexican WRESTLING MASK with
eye holes and a mouth. The mask covers his entire head.
He's naked except for red shorts, his body scrawny, oiled,
pale. The man goes to stand in front of the girl. He seems
to be saying something to her, but the film is silent and
the ONLY SOUND is the PROJECTOR'S LOUD sprocket hole
CLATTER. It's all one long take. The CAMERA MOVES to favor
the girl...
Welles sits straight in his chair, wary.
ON THE WALL: Masked Man raises his open hand and SLAPS the
girl, knocking her back on the bed...
Welles grimaces.
ON THE WALL: Masked Man pulls the girl back to a seated
position. The girl's like a rag doll, face reddened, eyes
closed, but she remains upright. Masked Man uses his thumbs
to open her unseeing eyes. He touches her mouth with his
fingers, presses his lips to hers. Then, Masked Man backs
away, leaving frame, till the CAMERA MOVES to find Masked
Man standing at a table with THREE large BOWIE KNIFES laid
out. Masked Man runs his fingers over the blades...
Welles rises slowly, still watching.
ON THE WALL: Masked Man selects a huge Bowie knife and moves
back towards the girl...
Welles crosses his arms tight, disbelieving, fearful.
<u>WE WILL NEVER SEE WHAT HAPPENS NEXT IN THE FILM</u>, but Welles
does. In the flickering, reflected light, Welles backs
involuntarily away from the horrible images, holding his
fist to his mouth, breathing hard.
Welles keeps backing away, till he's backed against a wall.
The PROJECTOR'S CLATTERING. Welles is sickened, sweating,
still watching, till he finally shuts his eyes.
INT. CHRISTIAN HOUSE, ADJOINING ROOM -- NIGHT
Silence. Mrs. Christian sits waiting, troubled.
The door to the dining room opens and Welles enters from the
dark, visibly shaken. Mrs. Christian watches him, her
sorrow now shared.
WELLES
You... you need to go to the police.
MRS CHRISTIAN
I told you I can't, not yet.
WELLES
You don't have any other choice.
MRS CHRISTIAN
(stands, shakes her head)
No. For me to live with the ruin of
my husband's name, I need know that
whoever did this will be punished.
If you can find them, I will take
their names to the police. I'll say
my husband confessed on his death
bed. I'll say I didn't have courage
to come forward at first...
WELLES
It won't work like that.
MRS CHRISTIAN
Any evidence you collect can be
given to the police later,
anonymously. I've thought about it
and there's no other way. If you
can't find them... if the only thing
that comes from this film is that
this is all my husband will be
remembered for, well I can't let
that happen. I'm telling you I
won't. If there's no chance that
poor girl's memory can be served,
then I'll just have to spend my last
days trying to forget her.
Welles sits, rests his head in his hands.
WELLES
I deal in divorce cases. Corporate
investigations...
MRS CHRISTIAN
You've found missing persons before.
WELLES
Nothing remotely like this.
MRS CHRISTIAN
I know what I'm asking. Your
compensation will be appropriate to
the risk. You'll need cash to buy
information, and I'll provide it.
(pause)
I feel responsible, Mr. Welles.
(pause)
You saw what he did to her.
Welles stands, torn apart and uncertain, looks back to the
dining room where the projector sits idle.
INT. WELLES' HOUSE, BABY'S ROOM -- NIGHT
Cindy is sound asleep in her crib.
Welles is seated near, staring at his sleeping child.
INT. WELLES' HOUSE, BEDROOM -- NIGHT
Welles digs in piles of SHOEBOXES and BOOKS on the floor of
his cluttered closet, finds what he wants: a LOCK BOX.
INT. WELLES' HOUSE, KITCHEN -- NIGHT
Welles twists the lock box dial's combination, opens the box
to reveal his GUN, HOLSTER and CLEANING SUPPLIES. Welles
takes out the gun, cleaning it. Amy watches.
WELLES
This is the mortgage. This is
Cindy's college money.
AMY
I understand.
WELLES
Sometimes you can't know what I'm
doing. It's better that way.
AMY
I know.
WELLES
It's a missing persons case... a
long shot. I'll give it two months,
two months at most, then I'll be
back. We'll take a vacation.
AMY
Why the gun?
WELLES
I'm not gonna need it. I won't even
wear it. It's a precaution.
(cleaning gun)
Don't worry about me.
INT. WELLES' HOUSE, OFFICE -- NIGHT
Welles looks through one file cabinet. He pulls out a FILE.
It contains all sorts of POLICE ARTIST SKETCHES. Welles
finds one of a TEENAGE GIRL with dark hair, looks at it.
Welles positions the sketch on his COPY MACHINE, hits copy.
EXT. WELLES' HOUSE, DRIVEWAY -- MORNING
Welles loads BOXES and a SUITCASE into his car's back seat.
Welles puts the lock box in the car's trunk, in a hiding
place beside the spare tire. He places a brown BRIEFCASE on
top, covers them both with carpet. He closes the trunk.
EXT. PENNSYLVANIA TURNPIKE -- MORNING
Little traffic. Welles' Ford races down the highway.
EXT. CLEVELAND CITYSCAPE -- ESTABLISHING -- DAY
City skyline, overcast. Looks like rain.
TITLE: <b>Cleveland, Ohio</b>
EXT. CLEVELAND STREETS -- DAY
Welles' car moves slowly in a not-so-great neighborhood.
Welles leans forward, peering through the windshield...
An APARTMENT BUILDING'S crooked SIGN lists "<b>WEEKLY RATES.</b>"
INT. WELLES' ROOM, CLEVELAND -- DAY
Dingy room. Welles locks the door, puts the chain on. His
suitcase and boxes are on the bed. He begins unpacking,
taking a PHOTO ENLARGER from one box and an 8MM PROJECTOR.
INT. WELLES' ROOM, BATHROOM -- DAY
The developer's on the toilet. DEVELOPING PANS are on the
floor, developer bath, stop bath and fixing bath, with
BOTTLES of CHEMICALS and packages of PHOTO PAPER. Welles
uses tape and ALUMINUM FOIL to black-out a window.
INT. WELLES' ROOM -- DAY
Pizza box on the bedside table. Welles' suits hang in the
closet. Welles sits facing a small REEL TO REEL on a desk.
He wears white gloves, handles the 8MM FILM, careful to hold
it by the edges, holding it up to the light, squinting.
Welles puts in a magnifying EYEPIECE, leaning close...
WELLES' P.O.V. THROUGH MAGNIFYING LENS: studying the first
few inches of exposed film, coming upon TINY LETTERS printed
just below the sprocket holes: "<b>SUPRAlux 544.</b>"
INT. WELLES' ROOM, BATHROOM -- DAY
RED BULB in the light socket. Welles threads the 8MM FILM
into his enlarger, still in white gloves.
He flicks the enlarger on, projecting a sideways IMAGE down
onto the enlarger's baseboard, FOCUSING... it's the girl
sitting on the bed, early in the snuff film.
Welles makes an adjustment to the enlarger's lens; framing
tighter on the girl's face, REFOCUSING.
INT. WELLES' ROOM -- NIGHT
Welles comes out of the makeshift darkroom, holding a PHOTO
of the girl. He props the photo up on a dresser, stands
looking at it. Sad girl, staring forward.
Welles goes to pick up his CELLULAR PHONE, dials.
WELLES
(into phone)
Hello, honey, it's me.
(listens)
I'm fine, how are you?
Welles listens. He turns to look at the girl's photo.
FADE TO BLACK:
EXT. OFFICE BUILDING, MISSING PERSONS ARCHIVE -- DAY
Nondescript. "<b>U.S. Resource Center for Missing Persons.</b>"
INT. MISSING PERSONS ARCHIVE, OFFICES -- DAY
Small. Cubicles. Employees work phones and computers.
BULLETIN BOARDS are covered in FAMILY PHOTOS, Polaroids and
familiar "HAVE YOU SEEN ME?" missing person/children POSTERS.
IN ONE CUBICLE, Welles opens his billfold, shows his
identification: a laminated "<b>LICENSED INVESTIGATOR,</b>
<b>Commonwealth of Pennsylvania</b>", with WELLES' PHOTO...
The DIRECTOR of the center, a tired looking official in
bifocals, studies the card. Welles sits.
DIRECTOR
What can I do for you, Mr. Welles?
WELLES
Call me Tom.
DIRECTOR
Alright, Tom.
WELLES
What I'd like, very simply, is
access to your archive. And, now I
understand this isn't something you
normally do for private citizens...
DIRECTOR
There are reasons for the way we do
things here.
WELLES
Absolutely. Of course I'll abide by
whatever decision you make, but I'd
appreciate if you'll hear me out...
The director sits back in his chair.
WELLES
Few days ago, I was contacted by a
couple living in Philadelphia, a
doctor and his wife. What happened
was they picked up a young girl
hitchhiking off 81, which heads into
Philadelphia, started up a
conversation with this girl, she
looked homeless, seemed about
eighteen maybe. They convinced her
to let them buy her a meal in the
city. Nice kid, mature, didn't have
much to say, but they got a sense
she's a runaway, so all through
dinner the doctor's working on her,
trying to convince her that at the
very least she should pick up a
telephone. Not surprisingly, she
ate her food, excused herself...
(snaps fingers)
That's the last they saw her. The
reason they came to me for help, the
reason I'm coming to you, is we had
a friend of mine in the department
work up a sketch...
(shows the POLICE ARTIST
SKETCH he photocopied)
They want to see if I can I.D. this
girl, somehow pass along a message
to let the parents know the kid's
alive, doing alright.
DIRECTOR
Why not go to the N.C.I.C. or
N.C.M.E.C.?
WELLES
I figured you share information.
DIRECTOR
We do.
WELLES
For whatever reasons I thought you
might be more receptive.
DIRECTOR
Why don't they come to me?
WELLES
This doctor and wife, they're nice
people, but they don't want to get
too involved. They're not trying to
have the parents come looking for
the girl either.
You and I both know sometimes, not
often, but sometimes there's real
reasons why a kid'll run.
Molestation, whatever. Besides
that, the girl's probably eighteen,
so she's legal.
DIRECTOR
I'm not so sure about this.
WELLES
They're putting themselves in place
of this kid's parents and thinking
they'd want to hear their girl's
okay, even if that's all they hear.
DIRECTOR
I can give you my card, if your
clients want to call me...
Welles accepts a CARD, disappointed.
WELLES
They were pretty clear they didn't
want this coming back on them.
DIRECTOR
Well, that's all I can do. Sorry.
Welles looks at the director, stands, hangs his head.
WELLES
Who knows... maybe she's already
given her parents a call, right?
Welles leaves.
EXT. OFFICE BUILDING, MISSING PERSONS ARCHIVE -- DAY
Welles comes out the front doors, pissed.
WELLES
Fuck.
He tears the card in half and drops it as he heads for his
car. After a moment, the director comes out after him...
DIRECTOR
Excuse me... Tom, hold on...
Welles looks back, walks back, glances down...
makes sure he stands on the torn card, hiding it underfoot.
DIRECTOR
Listen, maybe I can help after all.
Why don't you come on back in...
we'll see what we can do.
INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY
Director leads Welles into this RESEARCH ROOM, a small
library with long tables, old COMPUTERS, lots of FILE
CABINETS and CARD CATALOGS. Secretaries tend to the files.
DIRECTOR
This is it. It's not much.
(points at computers)
We've got less than five percent on
computer and we lose that funding in
December. I'll have someone show it
to you anyway. Other than that, I'm
afraid it's the wet thumb method.
Welles looks to the many, many file drawers.
DIRECTOR
Files are mostly by state and year
of disappearance. We try to keep
the children and adults separate.
No eating or smoking in here, but
there's a coffee machine in the hall.
WELLES
Any good?
DIRECTOR
It's horrible, but it'll be your
best friend after a few days. I
hope you realize what kind of long
shot you're chasing after.
WELLES
You're gonna be seeing a lot of me.
You're sure you don't mind?
DIRECTOR
It's good what you're doing.
The director puts out his hand. Welles looks, shakes.
INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY -- MONTAGE
ON A COMPUTER SCREEN: files open and close -- PICTURE after
PICTURE of a MISSING CHILDREN, mostly teenagers, each with
physical description, age, date of disappearance, etc. Lost
souls, although these are posed portraits, high school
yearbook photos and vacation photos, so the children are
mostly smiling, happy and healthy. But, all "<b>MISSING.</b>"
Welles works the computer keyboard and mouse...
ON THE SCREEN: the FACES of TEENAGERS, boys and girls, one
after the other, MISSING... MISSING... MISSING...
INT. CLEVELAND PUBLIC LIBRARY -- DAY -- MONTAGE
Welles searches the SHELVES of the LIBRARY. He begins
taking down various books...
"<b>Motion Picture Photography.</b>" "<b>Film Stocks and Physical
Characteristics.</b>" "<b>Super 8 Filmmaking.</b>"
INT. CLEVELAND PUBLIC LIBRARY -- LATER -- MONTAGE
In Welles' notepad: "<b>SUPRAlux 544.</b>"
Welles sits paging through technical photography books.
INT. WELLES' ROOM -- NIGHT -- MONTAGE
Welles has the 8MM FILM threaded through the projector. He
turns the CLATTERING projector on and sits, watching.
ON THE WALL: FLASH FRAMES, then... the skinny GIRL in a
negligee, sitting on the bed. The CAMERA'S SPOTLIGHT casts
long shadows. The girl stares, oblivious...
ON THE WALL: a door opens behind the girl, looks like a
bathroom, and the MASKED MAN enters, wearing the ghastly
WRESTLING MASK. The man goes to stand in front of the
girl. He seems to be saying something. The FILM halts.
Welles sits forward, hand on the projector. He's seen
something. He PLAYS the FILM in REVERSE...
ON THE WALL: the Masked Man walks backwards, away from the
girl, backwards into the bathroom, door shutting...
Welles stops the projector, not taking his eyes from the
image. He ADVANCES the film FRAME BY FRAME...
FRAME BY FRAME... as the bathroom door opens, and the Masked
Man enters... FRAME BY FRAME... as the Masked Man moves
forward... door closing behind him... STOP...
FREEZE FRAME: a THIRD MAN is reflected in the bathroom
mirror. Grainy and blurred, but he's in the room with the
girl, standing there, captured in the mirror in this one
brief instant just before the bathroom door closes.
Welles walks to take a closer look, studying the almost
ethereal image of the Third Man.
EXT. CLEVELAND STREET CORNER -- DAY -- MONTAGE
Welles is in a PHONE BOOTH, feeds many quarters into the
phone, waiting, looking at his notepad.
WELLES
(into PHONE)
Hello, Mrs. Christian? Tom Welles.
Here's where we stand. I checked
the film stock and it's called Supra-
lux 544. The company that made that
stock discontinued it in '92...
(listens)
Yeah, about five or six years ago.
Anyway, do what you can to dig up
your husband's old financial
records, look for anything out of
the ordinary...
INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY -- MONTAGE
Welles is back at the computer, alone, drinking coffee.
ON THE COMPUTER: endless PHOTOS of MISSING CHILDREN.
The <u>PHONE CALL CONTINUES in VOICE OVER</u>:
WELLES (V.O., cont)
Nobody really uses eight millimeter
film anymore, so we can assume there
are reasons our guys did. First,
they could develop it themselves if
they had any sort of expertise.
Obviously, this isn't the kind of
movie you can just drop off at the
one-hour photo...
INT. WELLES' ROOM -- NIGHT -- MONTAGE
Welles just stands, staring at the PHOTO of the GIRL.
WELLES (V.O., cont)
Second, the film that went through
the camera is what we've got.
There's no negative. Unlike video,
it wasn't meant to be duplicated.
No reason for them to risk having
more than one copy of their murder
floating around...
INT. CLEVELAND BAR -- NIGHT -- MONTAGE
Local bar. Welles sits drinking with the archive's
director, talking, smiling at something the director said.
WELLES (V.O., cont)
There don't seen to be many
fingerprints on the film itself, but
I'm going to have to be careful to
leave them intact...
INT. MISSING PERSON ARCHIVE, FILE ROOM -- DAY -- MONTAGE
Welles is tired, unshaven. He's moved on to the physical
files, at one table, looking through HUNDREDS of MISSING
PERSON BULLETINS. Secretaries tend to other files.
WELLES (V.O., cont)
It's okay for yours and your
husbands fingerprints to be on the
film, but you'll have to use me as
a middleman if you go to the police.
That way I don't have to explain why
my prints are on it...
INT. WELLES' ROOM -- DAY -- MONTAGE
Welles sits with the PROJECTOR ON, watching the film again.
WELLES (V.O., cont)
There were three men. Two are
obvious; the man in the mask and the
man running the camera, but I caught
a glimpse of a third man in a
mirror. It's nothing that can be
used for identification, but he was
there, watching...
ON THE WALL: Masked Man touches the girl's mouth, presses
his lips to hers. Masked Man backs away, leaving frame,
till the CAMERA MOVES to find Masked Man standing at a table
with THREE large BOWIE KNIFES laid out...
Welles notices something, puts the projector on FREEZE FRAME.
WELLES (V.O., cont)
So, there were three. They would
have kept it small, wouldn't have
let anyone in on it they didn't have
to. That's all for now... except,
I feel I should tell you... with
this looking like it happened at
least five or six years ago...
Welles walks to the frozen IMAGE on the wall. It shows the
Masked Man's hands in frame, fingering the blades.
WELLES (V.O., cont)
Well, it's not very likely we'll
ever find out who this girl was.
(listens)
I will, I'll keep trying. Goodbye.
V.O. PHONE CALL ends with the SOUND of the PHONE HANGING UP.
ON THE WALL: there's a DARK SPOT on Masked Man's hand, on
the arch between his index finger and thumb. Grainy and
hard to make out, but looks like a small TATTOO.
INT. WELLES ROOM, BATHROOM -- NIGHT -- END MONTAGE
Welles has the 8MM FILM threaded into his photo enlarger,
projecting the IMAGE we just saw down onto the baseboard.
He re-frames, CLOSER ON the masked Man's hand, REFOCUSING...
the black spot is a little clearer, looks like a small STAR
tattoo on the back of Masked Man's hand.
INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY
Welles sits hunched over the card catalog, still unshaven,
drinking coffee, flipping through smaller PICTURES of
MISSING CHILDREN in one drawer, one by one by one...
Welles rolls his neck. He looks to see the archive's
director in the doorway. The director nods, leaving.
Welles gets back to it, stooped over the catalog.
FADE TO BLACK:
TITLE CARD: <b>three weeks later</b>
EXT. OFFICE BUILDING, MISSING PERSON ARCHIVE -- DAY
In the lot, Welles gets wearily from his car, smoking. He
tosses the cigarette, gets a Thermos off the front seat.
INT. MISSING PERSON ARCHIVE, FILE ROOM -- DAY
Welles pulls out a card catalog drawer labeled "<b>North
Carolina 1992,</b>" flipping through picture cards. The FACES
of TEENAGERS: a happy BOY with blue eyes... a red headed
GIRL with freckles... a ruddy faced BOY... a pretty GIRL
with a ribbon in her hair... a black GIRL in a pink dress...
a blonde haired BOY with curly hair...
Welles furrows his brow.
He backtracks to the pretty GIRL with the ribbon in her hair.
Welles sits straight. He reaches into his pocket, hands
shaking a little, takes out and unfolds the PHOTO he printed
of the girl from the snuff film. It's her.
Welles compares the two pictures. She's prettier in the
card catalog photo, but it's her.
Welles can't believe it, looks around. Secretaries at other
files don't even know he's there. Welles pulls out his
notepad, scribbling down INFORMATION off the card...
Writing the girl's name: "<b>Mary Anne Matthews.</b>"
EXT. INTERSTATE HIGHWAY -- NIGHT
Welles, car races past, alone on the dark freeway.
EXT. FAYETTEVILLE CITYSCAPE -- ESTABLISHING -- DAY
Another small city. Blue skies above.
TITLE: <b>Fayetteville, North Carolina</b>
EXT. PUBLIC LIBRARY -- ESTABLISHING -- DAY
Suburban library. Kids play hop-scotch in the parking lot.
INT. FAYETTEVILLE LIBRARY, MICROFICHE ROOM -- DAY
Welles works the MICROFICHE MACHINE, scrolling through old
issues of the LOCAL NEWSPAPER, finds an ARTICLE headlined
"<b>Search Continues for Local Teen.</b>"
There's a PICTURE of the GIRL, Mary Anne Mathews; the same
picture Welles found in the Missing Person Archive.
Welles reads the article, writing on a LEGAL PAD.
TIME CUT:
NEWSPRINT SCROLLS past on the MICROFICHE MACHINE, till...
"<b>No Leads in Girl's Disappearance.</b>" Same picture.
The date at the top: "<b>July 12, 1992.</b>"
TIME CUT:
NEWSPRINT BLURS past... stops on a page of <b>OBITUARIES.</b>
Top of the page: "<b>September 4, 1993.</b>"
CLOSE ON: "<b>Mathews, Robert Steven, 1948-1993.</b>"
"Dead in an apparent suicide, Robert Mathews was discovered
yesterday morning in the basement of..."
EXT. MATHEWS HOUSE, FAYETTEVILLE SUBURB -- DAY
A tree-lined street of poor, boxy homes. Welles' car parks
in front of one HOUSE with a neglected lawn.
IN THE CAR
Welles, clean shaven, picks a CLIPBOARD with a file folder
and his legal pad on it, thumbs pages. He drums his
fingers, opens the glove compartment, pulls out the car's
registration, other papers and "Jiffy-Lube" service reports,
uses them to pad the file.
Welles takes a BOTTLE of COLOGNE from his pocket. He
considers it, opens the bottle, applies cologne to his neck.
EXT. MATHEWS HOUSE, FRONT PORCH -- DAY
Welles knocks, clipboard in hand. A sad, middle-aged woman
answers, MRS. MATHEWS, looking through the screen door.
MRS MATHEWS
Yes... ?
WELLES
(smiles)
Hello, Mrs. Mathews, my name's
Thomas Jones, I'm a state licensed
investigator...
Welles holds up his identification only long enough for Mrs.
Mathews to see it looks official.
WELLES
I've been hired as an independent
contractor by the U.S. Resource
Center for Missing Persons as part
of an internal audit. If you have
any time over the next few days, I'd
like to make an appointment to ask
some questions about the
disappearance of your daughter.
MRS MATHEWS
I don't understand, who are... ?
WELLES
I'm sorry, let me explain, the
R.C.M.P. is a support organization
and archive, not unlike the Center
for Missing and Exploited Children
in Washington. I'm sure you've
dealt with them before?
MRS MATHEWS
Yes, but...
WELLES
These volunteer organizations are
sort of interconnected, functioning
hand in hand with law enforcement.
The R.C.M.P. brought me in to review
their investigations...
(holds up clipboard)
... fact-check their records, see if
there's anything they missed,
anything they should be doing
different. I'm here for a few days,
before I head back up to Virginia.
These reports go to the Justice
Department eventually. I spoke to
your F.B.I. contact a few days ago,
uh...
Welles pretends to look for the name on a Jiffy Lube page...
WELLES
What was the name... ? I've got it
here somewhere...
MRS MATHEWS
Neil... Neil Cole.
WELLES
(pretends he found it)
Right, Agent Cole told me he'd call
and let you know to expect me. He
didn't call?
MRS MATHEWS
No.
WELLES
(looking on legal pad)
Well, I'm following up on your
daughter, Mary, height; five four,
weight; hundred ten pounds, brown
eyes, blonde hair. Born April 24,
1976. Missing June 11th, 1992. A
runaway, that's how she's listed.
Is this information correct... ?
Mrs. Mathews stares, nods.
WELLES
I'm sorry, I know this isn't easy.
Is there a more convenient time... ?
(looks at watch)
Can I buy you lunch, would that be
alright?
Mrs. Mathews looks him up and down.
EXT. DAIRY QUEEN RESTAURANT -- DAY
Welles and Mrs. Mathews eat at a PICNIC TABLE on the patio.
WELLES
It's very important you don't let
this raise your expectations. It's
not going to effect any ongoing
efforts. All I'm saying is, please
know, I'm not here to create any
false hope.
MRS MATHEWS
They hired you. You're like, a
private detective?
WELLES
That's exactly what I am.
Mrs. Mathews chews, staring off into the distance.
MRS MATHEWS
I didn't think there were private
detectives anymore, except on TV.
WELLES
You probably expect me to be wearing
a trench coat and a hat. Drinking
whiskey, chasing women and getting
beaten up by guys with broken noses.
Want to know what it's really like?
It's sitting in a car and staring at
a hotel window for three days
straight, pissing in a plastic
bottle, pardon me, because some guy
thinks his wife's cheating on him.
Glamorous, huh? And the guy who
hired you, he has a hair-lip,
dandruff and crooked teeth, and you
could have told him the minute you
laid eyes on him his wife's
cheating, and you don't blame her.
Mrs. Mathews smiles.
WELLES
It's refreshing to actually sit down
and meet someone face to face,
someone nice like you.
Welles smiles. Mrs. Mathews takes out a cigarette. Welles
lights her, joins her in smoking, refers to his clipboard.
WELLES
So, she didn't leave a note? She
never gave any indication where she
might go, before she left?
MRS MATHEWS
No.
WELLES
She just seemed... depressed... ?
MRS MATHEWS
She didn't seem herself. For months
there never was any way to get her
to talk about it. One night we went
to bed... the next morning she was
gone. She took some clothes.
WELLES
What was she running from?
MRS MATHEWS
I don't know.
WELLES
If there's anything you feel
uncomfortable talking about, tell
me, but I have to ask. Your
husband... he committed suicide?
MRS MATHEWS
Yes.
WELLES
September 4th, 1993. About a year
after Mary disappeared.
MRS MATHEWS
We were divorced by then. Things
fell apart... he was living with a
friend...
WELLES
Why do you think he did it?
MRS MATHEWS
It got to be too much for him.
WELLES
You have to forgive me, but in these
circumstances... with your
daughter...
(pause)
Were there any indications of... any
sort of abuse?
MRS MATHEWS
There wasn't anything like that.
The police and the FBI people asked,
but there wasn't anything happened
like that, never. My husband... his
heart broke when Mary left...
WELLES
I didn't mean to...
MRS MATHEWS
You try going through what we did.
Bob couldn't take it, that's all.
Christ, there's times when it still
seems like I can't either.
WELLES
I had to ask. I apologize.
MRS MATHEWS
No one knows what it's like. You
can't even imagine how much it hurts.
Welles is miserable. A few CUSTOMERS walk past, looking at
Mrs. Mathews. She tries not to notice then noticing.
MRS MATHEWS
People remember me from the news.
(pause)
Can you drive me back now?
WELLES
Of course.
INT. MATHEWS HOUSE, MARY'S ROOM -- DAY
Mrs. Mathews enters. Welles follows.
This was the girl's room, exactly as she left it -- POSTERS
of ACTORS on the wall, many STUFFED ANIMALS on the pink
sheets of the carefully made bed. Perfectly preserved.
MRS MATHEWS
This is her room.
Welles looks around, uncomfortable.
Shelves have PICTURES of MARY with female friends, a
collection of CERAMIC FIGURINES of CLOWNS and ANIMALS.
MRS MATHEWS
The police made a wreck of it, but
I put it back exactly how it was.
Just how she likes it.
Welles takes a few steps into the room, looks down at a DESK
where there are SIX brightly wrapped GIFTS.
MRS MATHEWS
Those are for her birthday. One for
every year she's missed. They'll be
waiting for her when she comes back.
Welles is nearly overwhelmed by sadness, struggling to hide
it. He backs to the door, looks at his watch...
WELLES
I... I shouldn't take anymore of
your time. Maybe we can finish
tomorrow. I'll call tomorrow...
MRS MATHEWS
Okay.
EXT. MATHEWS HOUSE -- DAY
Welles escapes to his car, climbing in. He starts it up...
IN THE CAR
Welles drives, tears welling up in his eyes. He has to pull
over and park, wiping his tears, fighting for composure.
INT. WELLES' ROOM -- NIGHT
Welles has unpacked. He's on the bed, on his CELLULAR...
WELLES
(into phone)
You should be able to take a shower
and still have hot water left, honey.
(listens)
Call him back and tell him I said
so. The goddamn thing's still under
warranty.
(listens)
I'm okay. It's hard here. It's
hard.
(listens)
I've got a lead I have to follow
through. To be honest, I don't
think I'm going to get very far.
I miss you. I love you.
INT. MATHEWS HOUSE, KITCHEN -- MORNING
Welles sits at the kitchen table. Mrs. Mathews makes
coffee. The home's decor is cheap and flowery.
MRS MATHEWS
We weren't religious. We never
forced religion down her throat,
like I've seen some parents do to
their kids. We never made her go to
church. But, after Mary was gone,
that's when I got religious.
Mrs. Mathews brings two cups of coffee, sits.
MRS MATHEWS
Doesn't make much sense, does it?
When everything's happy, when life's
fine and you have every reason to
believe there's a God, you don't
bother. Then, something horrible
happens... that's when you start
praying all the time. That's when
you start going to church.
WELLES
We're all like that.
MRS MATHEWS
Are you religious?
WELLES
No.
MRS MATHEWS
You should be.
Mrs. Mathews drinks coffee, stares into the cup.
WELLES
I've got what I need for my report.
There is... there is one thing that
bothers me though.
MRS MATHEWS
What?
WELLES
It's not really my place, but it's
not easy for me to set aside the
private detective part of me either.
See, I know a little about missing
persons. When kids run, they almost
always leave a note. It's guilt.
They want to say goodbye.
MRS MATHEWS
There wasn't one. The police looked.
WELLES
Do you think the police did a good
job?
MRS MATHEWS
I don't know. I think so.
WELLES
It is possible... and I know this
isn't something you want to hear.
Your daughter may have tried to hide
a note where she thought you would
eventually find it, but where she
knew your husband would never find
it. She might have wanted to tell
you something...
MRS MATHEWS
No. You don't have any reason to
think that...
WELLES
If the police focused their search
in <u>her</u> room, <u>her</u> belongings, well
that'd be only natural, but they may
have been looking in the wrong place.
Mrs. Mathews is getting upset.
MRS MATHEWS
How... how can you say that to me...?
WELLES
Will you let me look?
MRS MATHEWS
My husband never laid a hand on her.
She would have told me... she would
have told me...
WELLES
You're probably right, and I
probably won't find anything.
I don't have a right to ask this,
and you can kick me out of your
house if you want, but this is my
profession and there's a part of me
that can't let it go. Police are
just as human as you or I. They
could have missed something. They
probably didn't.
(pause)
Wouldn't you rather know?
Mrs. Mathews thinks about it, tortured, shakes her head sadly.
MRS MATHEWS
Go ahead and look if you want. I
don't care what you do.
Mrs. Mathews gets up and walks out of the room.
INT. MATHEWS HOUSE -- SEARCH MONTAGE -- DAY
-In MRS. MATHEWS' BEDROOM, Welles looks through DRESSER
drawers, methodically, replacing everything as it was...
searches hat boxes and shoe boxes in a CLOSET... takes
BOOKS off SHELVES, fanning the pages, shaking them out...
-In a BATHROOM, Welles examines the contents of a MEDICINE
CABINET, examining old prescription bottles... opens
CABINETS under the sink...
-In the LIVING ROOM, Mrs. Mathews sits slumped in a chair,
staring at a soap opera on TELEVISION, a BOTTLE of scotch
on TV tray beside her, drink in hand.
-In the KITCHEN, Welles stands on a chair, searches high
CABINETS... looks through low CABINETS, on his knees, pulls
out pots and pans... fans the pages of COOK BOOKS...
-Welles stands in the doorway of MARY'S ROOM, just stares.
He takes a few steps back into the HALLWAY, looks up at the
ceiling. There's an ATTIC DOOR there. Welles reaches to
the door's handle, opens it, unfolds the portable stairs...
-In the small ATTIC, Welles uses a penlight FLASHLIGHT,
crouched under the low ceiling, looking through dusty BOXES
of PHOTOGRAPHS; old photos of a wedding, of grandparents...
Welles moves to pull back dusty sheets, finds a large
WICKER BASKET and broken BICYCLE underneath...
Welles opens the basket, takes out BLANKETS and QUILTS
in mothballs. He finds a wide VELVET BOX, takes it out,
opens its hinged lid to reveal a set of good SILVERWARE.
He touches the tarnished silverware, lifts out the top tray.
Underneath, resting on top of more silverware, is a DIARY.
Welles opens the DIARY, finds written: "<b>Mary Anne Mathews.</b>"
Welles turns pages. The DIARY'S about half-full of
feminine, cursive handwriting. After the last written
page, a PAGE has been TORN OUT. Welles fingers the ragged
edge, flips through the blank pages till he comes to the
very last page, a GOODBYE NOTE. Welles sits and reads...
MARY'S VOICE (V.O.)
(emotionless monotone)
"Dear mom. If you're reading this,
it means I called you from
Hollywood, California and told you
where to find my diary. I don't
think I'll be able to tell you this
when I talk to you, so I'm writing
it down here. You know I haven't
been happy for a long, long time.
For a long time now dad's been doing
things I couldn't tell you. He's
been touching me and it's getting
worse. I can't stay anymore. I
know you and I haven't always gotten
along sometimes, but please don't
blame yourself. There isn't
anything you can do. I'm going to
make a whole new life in California.
Maybe someday you'll see me on TV or
in magazines. Don't worry about me.
Love, Mary Anne."
INT. MATHEWS HOUSE, HALLWAY OUTSIDE MARY'S ROOM -- DAY
Welles shuts the attic door, takes the DIARY from his
pocket, hides it in his waistband at the small of his back.
INT. MATHEWS HOUSE, LIVING ROOM -- DAY
Welles enters. Mrs. Mathews looks up from the TV.
WELLES
You were right.
(pause)
I didn't find anything. I'm going
to run and get something to eat.
Are you hungry?
MRS MATHEWS
Yes.
INT. COPY SHOP -- LATE DAY
Welles uses a self-serve COPY MACHINE, flattening the DIARY
on the glass, photocopying the DIARY as quickly as he can.
INT. MATHEWS HOUSE, LIVING ROOM -- NIGHT
Welles sits picking at fast food in front of him. Mrs.
Mathews' food isn't even unwrapped.
She's numb from her drink, watching a GAME SHOW, smoking.
WELLES
Do you ever consider... do you
realize that Mary may never come
back?
Mrs. Mathews looks to Welles, looks back at the TV.
MRS MATHEWS
I think about it everyday. But,
every time the phone rings... every
single time, I still think it's her.
WELLES
It's been six years.
MRS MATHEWS
What am I supposed to do? Forget
her? Time heals all wounds, right?
(misery building)
She's all I think about, and I've
learned to live with that. But, you
want the truth... the real truth?
If I had a choice... if I had to
choose, between her being out there,
living a good life and being happy,
and me not knowing; never finding
out what happened to her...
(pause)
... or her being dead and me
knowing...
(pause)
I'd choose to know.
Mrs. Mathews stares into the TV, wipes tears.
Welles takes a deep breath and holds it. He watches her a
long moment, motionless. Finally he stands, voice unsteady.
WELLES
Excuse me, I have to use your
bathroom.
INT. MATHEWS HOUSE, HALLWAY OUTSIDE MARY'S ROOM -- NIGHT
Welles comes to the attic door, quietly pulls it open.
INT. MATHEWS HOUSE, ATTIC -- NIGHT
Welles uses his penlight, digs out the DIARY from the hiding
place in his waistband, replaces it in the box of
silverware, closes the box.
INT. MATHEWS HOUSE, MARY'S ROOM -- NIGHT
Welles enters, takes a PICTURE FRAME off one shelf, opens
the back and takes out the PHOTO of MARY from inside.
INT. MATHEWS HOUSE, LIVING ROOM -- NIGHT
Mrs. Mathews still gazes into the TV. Welles passes the
doorway, not looking in, heading to the front door, opening
the door and walking out...
Mrs. Mathews doesn't even notice, doesn't look up.
EXT. MATHEWS HOUSE -- NIGHT
Welles crosses the front lawn, not looking back, heading to
the street, getting into his car, starting his car, doing a
U-turn, driving away down the street.
EXT. FAYETTEVILLE AIRPORT, LONG TERM PARKING -- MORNING
Welles' boxes of belongings are piled in the back seat of
his car. Welles covers them with a blanket, shuts the door.
Welles opens the trunk of his car, pulls back the carpeting.
He opens the brown BRIEFCASE. The briefcase is full of
CASH, about $10,000, twenties and fifties in bundles.
Welles transfers half the money into a carry-on bag, shuts
the briefcase, covers it, closes the trunk.
INT. AIRPLANE, COACH -- NIGHT -- MONTAGE
The cabin's half-full, dark. Passengers sleep. Under the
only illuminated reading light, Welles reads the PHOTOCOPIED
DIARY. MARY'S VOICE is a again a flat monotone...
<b>MARY'S VOICE</b> (V.O.)
(as Welles reads)
"Dear diary. I have a big math test
tomorrow. I have to get better
grades. How come everybody does
better than me? Kathy doesn't even
study and she gets B's. Two boys
got in a fight after school today.
One boy knocked the other boy's
tooth out, at least that's what it
looked like. His nose and mouth
were bleeding all over the place..."
EXT. LOS ANGELES INTERNATIONAL AIRPORT -- MORNING -- MONTAGE
An airplane ROARS downwards, heading in for a landing.
EXT. LA CITYSCAPE -- ESTABLISHING -- DAY -- MONTAGE
An ugly city. "HOLLYWOOD" sign on the smoggy horizon.
EXT. HOLLYWOOD HOTEL -- DAY -- MONTAGE
A cheap, stucco hotel in a wounded Hollywood neighborhood.
INT. HOLLYWOOD HOTEL -- DAY -- MONTAGE
Welles' suitcase is open on the bed. Welles sits in a chair
with his feet up, sweating in the heat, reading the DIARY.
<b>MARY'S VOICE</b> (V.O.)
(as Welles reads)
"... We're reading The Great Gatsby
in English class. It's the story of
this guy who has lots of fancy
parties and all his friends come
around and party with him, but later
when he dies nobody comes to his
funeral. Someone said there's a
movie about it, but I looked in the
video store and it wasn't there."
Welles flips pages, further back in the DIARY...
<b>MARY'S VOICE</b> (V.O.)
(as Welles reads)
"Dear diary. I started my first job
last week working part time at Price
Mart department store..."
INT. LOS ANGELES BANK, SAFE DEPOSIT VAULT -- DAY -- MONTAGE
Welles and a BANK EMPLOYEE both put keys into a SAFE DEPOSIT
BOX, unlocking it and sliding out the metal drawer.
<b>MARY'S VOICE</b> (V.O., cont)
"... The people I work with are all
old and fat. All they live for is
their next coffee break so they can
smoke..."
INT. BANK, PRIVACY BOOTH -- DAY -- MONTAGE
Welles is alone, opens the empty safe deposit drawer, takes
the 8MM FILM from his pocket and puts it in the drawer.
<b>MARY'S VOICE</b> (V.O., cont)
"... They eat lunch at the snack
counter. Hot dogs and soft
pretzels. Nachos with that orange
cheese that comes out of a pump. I
don't know what I'd do if I'm still
working there when I get old..."
EXT. YOUTH HOSTEL -- ESTABLISHING -- DAY -- MONTAGE
A large NEON CROSS identifies this HOSTEL in mid-Hollywood.
<b>MARY'S VOICE</b> (V.O., cont)
"... I want to be a singer or an
actress. I know it's a stupid
dream, but I know I can do it if I
get a chance..."
INT. YOUTH HOSTEL -- DAY -- MONTAGE
Welles talks to the MAN behind the counter, shows the
PICTURE of MARY taken from Mrs. Mathews' house.
<b>MARY'S VOICE</b> (V.O., cont)
"... Everyone's always telling me
how pretty I am. I don't think I
am. When I look in the mirror I
wonder who they're talking about."
The MAN behind the counter shakes his head.
INT. HOMELESS SHELTER -- DAY -- MONTAGE
A run-down shelter. Welles shows the PICTURE of MARY to the
PROPRIETOR, explaining. The proprietor shakes his head.
<b>MARY'S VOICE</b> (V.O., cont)
"Dear diary. I went out with Bob
today, the cute boy in my science
class. He took me to a movie..."
EXT. YWCA, LIVING QUARTERS -- DAY -- MONTAGE
Welles continues his trek, standing in the dank hallway of
a YWCA DORMITORY, showing the PICTURE to a COUNSELOR.
<b>MARY'S VOICE</b> (V.O., cont)
"... It was the middle of the day,
but we held hands. I think he likes
me. I really like him. He has
black hair and grey eyes..."
EXT. LA FREEWAY -- DUSK -- MONTAGE
Welles sits in his rental CAR, in a massive TRAFFIC JAM.
<b>MARY'S VOICE</b> (V.O., cont)
"... He opened the car door for me
and paid for the movie. When he
took me home he said we should go
out again soon. I hope he calls..."
EXT. HOLLYWOOD, RED LIGHT DISTRICT -- NIGHT -- MONTAGE
Welles drives, looking out the windshield...
at decaying "PEEP SHOWS," an "ADULT BOOKSHOP" and "SEX SHOP."
<b>MARY'S VOICE</b> (V.O., cont)
"Dear diary. Janet says she slept
with her boyfriend. I can't believe
it. She says they did it last
weekend while her parents were out
of town..."
EXT. HOLLYWOOD, SUNSET BOULEVARD -- NIGHT -- MONTAGE
Welles drives, watching overweight PROSTITUTES and tall,
muscular TRANSVESTITES prowling the sidewalks in mini-skirts
and stained, tight spandex pants.
<b>MARY'S VOICE</b> (V.O., cont)
"... She said she liked it, but she
didn't seem too happy. She didn't
tell me many details. She said he
used a condom."
EXT. SANTA MONICA BOULEVARD -- NIGHT -- MONTAGE
Teenaged MALE PROSTITUTES hang out in front of a PIZZA
PARLOR. A few have their shirts off, crewcut and muscular.
<b>MARY'S VOICE</b> (V.O., cont)
"Dear diary. If I save enough money
to go to community college maybe I
can get good enough grades for a
scholarship somewhere else..."
EXT. HOLLYWOOD BOULEVARD -- DAY -- MONTAGE
A tribe of HOMELESS TEENAGERS sits on the sidewalk in front
of SOUVENIR SHOPS. They beg money off pedestrians.
<b>MARY'S VOICE</b> (V.O., cont)
"... I've never been anywhere else.
I don't think mom wants to let me
go. Every time I try to talk about
it she says it'll cost too much or
she changes the subject."
EXT. CHURCH, SOUP KITCHEN -- DAY -- MONTAGE
A long line of HOMELESS PERSONS trails out the door. Welles
stands out front, showing the PICTURE to a VOLUNTEER with a
broom, and a PRIEST...
<b>MARY'S VOICE</b> (V.O., cont)
"Dear diary. Something terrible
happened today when dad and I were
alone. I can't tell anyone. I feel
sick. What did I ever do to make
this happen to me?"
The volunteer and priest can't help. Welles is weary,
futility beginning to wear on him, walks to his car...
<b>MARY'S VOICE</b> (V.O., cont)
"Dear diary. My stomach hurts all
the time. I just want to go to
sleep and never wake up. I want to
get out of my head and stop hearing
myself think."
INT. WELLES' RENTAL CAR -- IN MOTION -- NIGHT -- MONTAGE
Welles smokes, driving, blankly watching the road ahead...
<b>MARY'S VOICE</b> (V.O., cont)
"Dear diary. Grandma fell and broke
her leg last week. We drove down to
visit her in the hospital.
Hospitals smell like dead people."
EXT. FREEWAY -- <u>HELICOPTER SHOT</u> -- NIGHT -- CONTINUOUS
FOLLOW Welles' car speeding along...
<b>MARY'S VOICE</b> (V.O., cont)
"Dear diary. It's happening all the
time now. There s nothing I can do.
I'm all alone. Everything is bad.
I used to have lots of dreams and
I'd remember them when I woke up,
but that doesn't happen anymore."
PULL BACK: still FOLLOWING WELLES' CAR, over the FREEWAY...
<b>MARY'S VOICE</b> (V.O., cont)
"Dear diary. If I can get to
California, I'll be okay. I've got
money saved. I can work as a
waitress till I get something
better. Billy says he and his
family went to California once on
vacation. He says it never rains.
They stayed near the beach and he
went swimming in the ocean..."
CONTINUE TO PULL BACK -- till Welles' car is very, very far
below -- REVEALING the staggering size of the City of Los
Angeles, where the lights go on forever and forever.
INT. WELLES' ROOM -- NIGHT -- MONTAGE
Welles is seated, elbows on his knees, reading the DIARY...
<b>MARY'S VOICE</b> (V.O., cont)
"... I hope I can be an actress. I
hope I can be happy. I'll probably
have to go to acting school. I wish
I knew someone who lived there.
I'll miss my friends, but at least
I'll be far away where no one can
ever find me."
Welles has come to the end of the writing in the DIARY. The
next PHOTOCOPIED PAGE shows an image of the TORN RAGGED EDGE
of the diary's missing page.
EXT. VIDEO PORN SHOP -- DAY
Welles enters this "ADULT VIDEO" storefront.
INT. VIDEO PORN SHOP -- DAY
The CLERK is a sleazy forty-year-old man with rings in his
pierced nose and lips, behind a counter by the door. He
watches Welles pass.
Welles looks around, uncomfortable. A few of the other
CUSTOMERS, all men, sneak glances at Welles. Display
shelves run floor to ceiling, full of hundreds of shrink-
wrapped XXX PORNO TAPES. Welles pretends to browse.
Handmade signs above each section identify content: "ANAL,"
"BIG TITS," "CUMSHOTS," "BONDAGE and FETISH," etc...
Welles looks back at the clerk, who stares at Welles.
Welles feels obligated to pick up a box and act like he's
considering it. He glances at other customers.
Each man keeps his eyes forward on the pornography. One guy
has his arms full of about ten videos.
Welles puts the tape back, walks to the front counter. The
clerk watches him the whole time.
WELLES
Is this pretty much it?
The clerk just stares at Welles.
WELLES
Just... just videos?
PIERCED CLERK
What are you looking for?
Welles considers, decides to leave, exiting...
WELLES
Nothing.
PIERCED CLERK
Fuck-head.
INT. ADULT BOOKSTORE -- DAY
Welles comes in through the blacked-out door. This place is
larger than the last. TWO CLERKS are behind the counter.
One clerk's pricing porn, the other, MAX, 25, reads a porno-
novel. Max has long hair, colorful tattoos covering his
forearms, has a HIGHLIGHTER MARKER in his mouth.
Welles browses. There's a huge video bargain bin. Walls
are covered in videos, sex toys, inflatable women, etc.
CUSTOMERS, again all wary males, follow proper porn-shop
etiquette; look at the porn, not your fellow shopper.
There are "PEEP SHOW" booths in the back. A MAN looks
around, trying to be nonchalant, sweating profusely,
slipping behind one curtain.
Welles pretends to read the packaging on a triple-pack of
dildos, looks towards the front...
Behind the register, Max takes a look to make sure the other
clerk is busy, takes the cap of his Highlighter pen and
highlights a section in the book he's reading.
Welles notes this. He goes to the substantial MAGAZINE
RACK, picks up a porn tabloid, pages through it. He selects
sex MAGAZINES and NEWSPAPERS, choosing about twenty-five.
Welles takes this pile up to Max, gets out his wallet. Max
starts ringing everything up.
MAX
Big date tonight?
WELLES
(embarrassed)
Yeah... guess so.
MAX
Can I interest you in a battery
operated-vagina?
WELLES
Pardon me?
MAX
My boss tells me I have to do more
suggestive selling.
WELLES
Well, it's tempting, but no thanks.
MAX
It's your call, but you're gonna be
sorry when you're in one of those
everyday situations that call for a
battery-operated vagina and you
don't have one.
WELLES
I'll risk it.
Max shoves everything into a bag and hands it over.
MAX
Thank you for shopping at Adult
Bookstore. Have a nice day.
Welles takes the bag. Max returns to his book. Welles is
leaving, but stops at the end of the counter.
WELLES
What are you reading?
Max holds up the book, "ANAL SECRETARY."
MAX
Once you pick it up you can't put it
down.
WELLES
Catchy title. What are you really
reading?
(off Max's look)
Hard to believe that book's got any
parts worth highlighting.
Max takes a glance at the other clerk, opens the pages of
the book and shows it to Welles. "<b>Music for Chameleons.</b>"
WELLES
Truman Capote.
MAX
I tear off the cover and paste this
one on...
(nods towards clerk)
You know how it is.
WELLES
Wouldn't want to embarrass yourself
in front of your fellow perverts.
MAX
(smiles, shrugs)
Might get drummed out of the
pornographer's union, and then where
would I be?
Another CUSTOMER clears his throat, waiting at the register.
Max turns to help him. Welles heads out.
INT. WELLES' ROOM -- NIGHT
Welles is at a table, porn publications spread out before
him, looking through the back of a PORNO TABLOID...
Turning pages of HARDCORE ADVERTISEMENTS: "<b>Adults Only,</b>"
"<b>She Male Films,</b>" "<b>Amateur Sex Videos,</b>" "<b>Women and
Animals -- you've got to see it to believe it...</b>"
Welles moves on to the next MAGAZINE, turning to the back,
again, page after page: "<b>Watersports and Fisting
Specialists,</b>" "<b>100's of Anal Films,</b>" "<b>Asian Sex...</b>"
HUNDREDS of <b>900 NUMBER</b> ads with naked women urging callers
to pick up the phone. <b>EROTIC CLASSIFIEDS</b>; hundreds of
amateur photos of naked men and women with faces and
genitalia blacked over... "<b>Men Seeking Women,</b>" "<b>Women
Seeking Women</b>", "<b>Men Seeking Men,</b>" "<b>Transvestites...</b>"
It is endless. More <b>CLASSIFIEDS</b>: "<b>Sex Slaves Wanted,</b>"
"<b>ACTRESSES WANTED,</b>" "<b>Underground Films,</b>" "<b>SPECIALTY FILMS
OFFERED,</b>" "<b>S+M and BONDAGE,</b>" "<b>Fetish Videos.</b>"
Welles leaves it, overwhelmed, goes to lay down on the bed.
He picks up his cellular phone, dialing.
WELLES
(into phone)
Hi, honey, how are you? How's Cindy?
(listens)
The way it's going I'm about ready
to pack my bags...
INT. NONDESCRIPT ROOM -- NIGHT -- CONTINUOUS
In a dark room, we don't know where, a DARK FIGURE of a MAN
is silhouetted. He wears HEADPHONES, <u>listening</u>...
WELLES' VOICE (V.O.)
(through headphones)
... I've got a feeling the person
I'm looking for came out here and
got swallowed up by the place.
AMY'S VOICE (V.O.)
(through headphone)
Come back now. Just drop it and
come back...
WELLES' VOICE (V.O.)
(through headphone)
I would if I could. I'll be home
soon, believe me. It won't be long.
AMY'S VOICE (V.O.)
(through headphone)
I miss you.
INT. WELLES ROOM -- NIGHT -- CONTINUOUS
Welles shuts his eyes, still on the cellular...
WELLES
(into phone)
I miss you too. I love you very
much. Give Cinderella a kiss for me
and tell her I love her, alright?
(listens)
Goodnight.
INT. ADULT BOOKSTORE -- DAY
Max is at the register. A crewcut WOMAN in overalls works
behind the counter with him. Welles approaches.
WELLES
Remember me?
MAX
Came back for that battery-operated
vagina, right? Told you you would.
Welles shows his IDENTIFICATION, lets Max get a good look.
WELLES
I need some information. Thought
you might be able to help.
MAX
(of identification)
Thomas Welles. Nice picture.
Welles takes out an ENVELOPE, puts it on the counter.
WELLES
I'll be outside having a cigarette.
Welles leaves. Max watches him go. Max opens the envelope,
takes out two fifty dollar bills, pockets them.
MAX
(to other clerk)
Cover me, Beth. I'm taking a break.
EXT. ADULT BOOKSTORE -- DAY
Welles stands down the sidewalk, smoking. Max comes out
from the porn shop, walks to Welles, looking around.
MAX
I don't know what you're looking
for, mister, but so we're clear from
the start, I'm straight.
WELLES
Good for you.
Welles and Max walk down the block, past HOMELESS MEN with
shopping carts overflowing with junk.
WELLES
How long you been working there?
MAX
Three, four years.
WELLES
What's your name, if you don't mind
me asking?
MAX
Max.
WELLES
Well, here's the deal, Max. This
thing I'm on right now has something
to do with underground pornography.
Stuff that's sold under the counter,
illegally...
MAX
There's not much illegal.
WELLES
Well, whatever there is, whoever's
dealing, however it's done, I want
to know. I want a good look, so if
you've got that kind of connection,
great. If not, speak now.
MAX
You're not a cop, are you? If I ask
and you are, you have to tell me.
WELLES
I'm not a cop.
MAX
You're a private eye. Like Shaft.
WELLES
Not quite.
MAX
From Pennsylvania. P.I. from PA.
What are you doing out here?
WELLES
Well, there's the thing; you're not
gonna know anything about what I'm
doing, but you can make some money.
MAX
How much?
WELLES
How much do you make now?
MAX
Four hundred a week, off the books.
WELLES
Okay, let's pretend I live in the
same fantasy world where you make
four hundred a week in that dump.
I'll give you six hundred for a few
days.
MAX
Sounds good, pops.
WELLES
Here's my number if you need it...
(writes on scrap paper)
When can you start?
MAX
Tomorrow night, I get off at eight.
WELLES
See you then. Oh, and, don't call
me "pops."
Welles walks away.
INT. WELLES ROOM -- NIGHT
Welles sleeps, despite the stead SOUND of TRAFFIC racing by
his window. The PHONE RINGS, waking him. Welles looks at
the clock radio, <b>2:23</b>am, reaches to answer the phone...
WELLES
(into phone)
... Hello... ?
MAX (V.O.)
(from phone)
Wake up, pops. Your education
begins tonight.
EXT. DOWNTOWN -- NIGHT
Against the backdrop of downtown LA's bright skyscrapers,
Welles' rental car heads into the lower bowels of the city,
smaller, older, darker buildings...
EXT. DOWNTOWN STREETS -- NIGHT
The only people on the street are HOMELESS and SHADY
CHARACTERS. Welles' car makes its way to a big deserted
PARKING LOT. There are a few cars parked in one corner.
Welles parks near the other cars and gets out. Max stands
against a chain link fence. Welles goes to meet him.
MAX
Come on.
Max leads the way, across the lot, towards dark alleyways.
EXT. DOWNTOWN ALLEYWAY -- NIGHT
Max and Welles move through this filth strewn alley between
decaying brink buildings. They cone to a STAIRWELL leading
down to pitch dark...
INT. OLD BUILDING -- NIGHT
Max enters through a crooked door, heads into a narrow,
labyrinth hallway lit by bare bulbs. Welles follows.
They come to another STAIRWAY leading down. At the bottom,
a thick-necked GOON stands guarding double doors.
GOON
Are you a law enforcement agent or
in any way affiliated with law
enforcement?
MAX
Fuck you, Larry.
Max heads to the double doors, waits for Welles.
GOON
(to Welles)
Are you a law enforcement... ?
WELLES
No.
INT. BASEMENT -- NIGHT
Max and Welles enter through the double doors, into a kind
of small, underground porn flea market. It's incredibly
quiet. About fifteen CARD TABLES are set up in rows. The
MEN behind the tables and the thirty or so "CUSTOMERS"
looking through the merchandise make those in the previous
porn shops look like high society.
These are MIDDLE-AGED MEN, most balding, some with pot
bellies, in shorts and tube socks, in sweatpants and Members
Only jackets: plain men, but with a look of desperation in
their eyes, glancing around nervously, greasy and afraid.
ONE DEALER
We're shutting down in fifteen
minutes. Fifteen minutes.
Welles makes his way to the tables, wary. One table is
covered in dirty cardboard boxes, filled with HUNDREDS of
PHOTOS of young children, mostly boys, naked. Each photo is
wrapped in plastic, censored by masking tape.
Welles swallows back disgust.
The next table is piled high with used pornographic
MAGAZINES. There are baggies with COLORFUL PILLS laid out.
X-rated Polaroids wrapped in rubberbands.
Max follows behind, unaffected, smokes a cigarette.
Another table offers VIDEO TAPES with no identifying marks
other than hand written labels with numbers written out,
"<b>two,</b>" "<b>sixteen,</b>" "<b>five.</b>" And many bootleg VIDEOS with
grainy, homemade labels showing WOMEN in extreme BONDAGE.
Welles watches out the corner of his eye as the PLUMP MAN
beside him pays for a thick stack of kiddie porn pictures.
Welles waits till the man moves on, addresses the angry
looking DEALER who's counting money.
WELLES
(points to numbered videos)
What are these?
ANGRY DEALER
Mixed hard bondage. Rape films.
Sick shit. Buy five, get one free.
Welles looks around, wipes sweat off his top lip.
WELLES
Anything harder?
ANGRY DEALER
There's nothing harder.
WELLES
Snuff?
ANGRY DEALER
What you see is what I got, mister.
WELLES
You know where I can get it? I have
a lot of money to spend.
ANGRY DEALER
There ain't no such thing as snuff.
Why don't you fuck off?
The dealer sits and keeps counting cash.
Welles moves on Beyond the tables there's a CURTAINED
DOORWAY. Welles walks to it, enters...
INSIDE THE CURTAIN
Folding chairs face a SCREEN. A PROJECTOR shows a silent
movie; a BUXOM WOMAN in nurses uniform prepares an enema bag
and tube. A hairy, overweight MAN lays face down on an
examination table, naked, arms tied behind his back.
In the darkness, a MAN shifts in his chair, grunting,
obviously masturbating. A few chairs away, a man is bent
over, moving his head in the lap of SOMEONE in a BLONDE WIG.
A LARGE MAN approaches Welles from the dark.
LARGE MAN
You have to pay to come in here.
Welles backs away, shuts the curtain.
INT. ALL-NIGHT COFFEE SHOP -- NIGHT
Not many people in the place. Welles drinks coffee. Max
eats a huge breakfast.
MAX
You've got Penthouse, Playboy,
Hustler, etc. Nobody even considers
them pornography anymore. Then,
there's mainstream hardcore. Triple
X. The difference is penetration.
That's hardcore. That whole
industry's up in the valley.
Writers, directors, porn stars.
They're celebrities, or they think
they are. They pump out 150 videos
a week. A <u>week</u>. They've even got
a porno Academy Awards. America
loves pornography. Anybody tells
you they never use pornography,
they're lying. Somebody's buying
those videos. Somebody's out there
spending 900 million dollars a year
on phone sex. Know what else? It's
only gonna get worse. More and more
you'll see perverse hardcore coming
into the mainstream, because that's
evolution. Desensitization. Oh my
God, Elvis Presley's wiggling his
hips, how offensive! Nowadays,
Mtv's showing girls dancing around
in thong bikinis with their asses
hanging out. Know what I mean? For
the porn-addict, big tits aren't big
enough after a while. They have to
be the biggest tits ever. Some porn
chicks are putting in breast
implants bigger than your head,
literally. Soon, Playboy is gonna be
Penthouse, Penthouse'll be Hustler,
Hustler'll be hardcore, and hardcore
films'll be medical films.
People'll be jerking off to women
laying around with open wounds.
There's nowhere else for it to go.
WELLES
Interesting theory.
MAX
What you saw tonight, we're not
talking about a video some dentist
takes home over the weekend. We're
talking about stuff where people get
hurt. Specialty product.
WELLES
Child pornography.
MAX
There's two kinds of specialty
product; legal and illegal. Foot
fetish, shit films, watersports,
bondage, spanking, fisting, she-
males, hemaphrodites... it's beyond
hardcore, but legal. This is the
kind of hardcore where one guy's
going to look at it and throw up,
another guy looks at it and falls in
love. Now, with some of the S+M and
bondage films, they straddle the
line. How are you supposed to tell
if the person tied up with the ball
gag in their mouth is a consenting
or not? Step over that line, you're
into kiddie porn. Rape films, but
there aren't many. I've never seen
one.
WELLES
Snuff films.
MAX
I heard you asking. That guy wasn't
yanking you around. There's no such
thing.
WELLES
What other ways are there to get
illegal films? Who do you see?
MAX
First of all, basement sales like
tonight aren't gonna last much
longer. It's too risky, one, and
two, everything's going on the
internet. Anyone with a computer
and enough patience can find
anything he wants. It's heaven for
those degenerate chicken-hawks.
They're swapping pictures back and
forth as fast as their modems can
zap 'em. But, there's still some
weird shit under the counter where
I work sometimes. No one knows where
it comes from. That's local
underground, where information
spreads by word of mouth. Those are
zombies, hardcore junkies. Their
hands are permanently pruned. They
go out in the sun they don't burn,
they blister. Other than that, all
I know about is the mail.
Classified ads in the paper with
hidden codes. Secret couriers.
Credit card orders to dummy
corporations. Interstate wire
transfers. Revolving P.O. boxes.
But, if you're asking me who do you
go to to get illegal shit... who
knows? That's the whole point --
the seller stays as far away from
the buyer as possible, and vice
versa, and cops can't trace the
deal. There's ways to do it so
nobody knows who anybody is.
Welles watches Max eat.
WELLES
How old are you?
MAX
Twenty-five.
WELLES
Where are your parents?
MAX
I don't know, where are yours?
WELLES
I don't mean any offense... but what
are you doing mixed up in all this?
MAX
I'm not mixed up in anything,
hayseed. What are you talking about?
WELLES
You just strike me as smart enough
to be doing something else.
MAX
Yeah, I'm a real genius. What
choices have I got? Fuck, just
because I know about stuff like
tonight doesn't mean I deal it. I
work a job. It beats pumping gas,
beats making hamburgers.
WELLES
You're telling me it doesn't get to
you?
MAX
You can't sit there all day watching
the parade of losers that comes into
that place without going numb. So
what?
Am I gonna go off and be a race car
driver? Go to Harvard? Run for
President? What about you, pops?
WELLES
What about me?
MAX
I see a ring on your finger. You
have any kids?
WELLES
A daughter.
MAX
So, you have a wife and kid waiting
for you in Pennsylvania... what are
<u>you</u> doing mixed up in all this?
WELLES
Good question.
EXT. ALL NIGHT COFFEE SHOP -- NIGHT
Max and Welles comes out to the sidewalk, talking.
ACROSS THE STREET
INSIDE A PARKED CAR, through the windshield, SOMEONE watches
Max and Welles say goodnight. Max walks to a waiting taxi.
It's the sinister lawyer watching, LONGDALE, the late Mr.
Christian's attorney, watching Welles go to his rental car.
INT. WELLES' ROOM -- NIGHT -- MONTAGE
Welles is seated, PROJECTOR RUNNING, watching the 8MM film.
The last of the film makes its way through, threading out.
The take-up reel spins, the film's tail flapping...
Welles stares at the blank white square of light projected
onto the wall. CELLULAR PHONE is HEARD RINGING...
Welles finally looks to the projector, turns it off. The
PHONE'S RINGING. Welles goes to sit on the bed, looking at
the cellular phone on the bedside table. RINGING...
Welles lets it RING. RINGING... RINGING... till it finally
stops. Welles lays back on the bed and shuts his eyes.
INT. CHRISTIAN HOUSE, MR CHRISTIAN'S OFFICE -- DAY
Mrs. Christian is behind the desk, surrounded by BOXES of
BANK RECORDS and FINANCIAL STATEMENTS, on the PHONE.
MRS CHRISTIAN
(into phone)
My husband had five cash accounts he
used to temporarily hold stock
profits. Between November of 1991
and March of 1992, he wrote one
check out to cash from each account.
He wrote these himself...
INT. PHONE BOOTH, HOLLYWOOD -- DAY -- CONTINUOUS
Welles is in the booth, listening...
WELLES
(into phone)
Okay...
MRS CHRISTIAN (V.O.)
(from phone)
My husband never dealt with money
personally, certainly not cash.
WELLES
I'm not positive this means anything.
MRS CHRISTIAN (V.O.)
The checks were for odd amounts...
INT. MR CHRISTIAN'S OFFICE -- DAY -- CONTINUOUS
Mrs. Christian has the amounts written out on paper.
MRS CHRISTIAN
(into phone)
One was for two hundred thousand,
one dollar and thirteen cents.
Another was for three hundred
thousand, six hundred fifty four
dollars and seventy six cents...
WELLES (V.O.)
(from phone)
Okay, I follow you so far...
MRS CHRISTIAN
Totalled together, these five checks
from five different accounts, they
equal one million dollars.
INT. PHONE BOOTH -- DAY -- CONTINUOUS
WELLES
(into phone)
You're joking.
MRS CHRISTIAN (V.O.)
(from phone)
To the penny. Exactly one million
dollars in cash.
Welles considers this, lost in thought.
MRS CHRISTIAN (V.O.)
Hello... ?
WELLES
I'm here.
MRS CHRISTIAN (V.O.)
Do you think the film could have
cost that much?
WELLES
For a human life... murder on film,
no statute of limitations. Who
knows? It sure could have. I'd
like you to overnight me a copy of
those checks, then put them in a
safe deposit box.
MRS CHRISTIAN (V.O.)
Okay.
WELLES
Send it to me through the post
office like we arranged. No return
address. You dug this up all by
yourself?
MRS CHRISTIAN (V.O.)
You told me to look, so I looked.
WELLES
You're one hell of a detective, Mrs.
Christian.
EXT. MISSION YOUTH HOSTEL -- DAY
TEENAGERS work cleaning this large DORMITORY, sweeping and
mopping the floor, making the bunk beds, washing windows.
Welles stands with an elderly, black NUN in plain clothing.
WELLES
Her name was Mary Anne Mathews.
Welles hands the woman the PICTURE of MARY. The woman puts
on her glasses, looks at the picture... looks at Welles.
NUN
Yes... I remember Mary
WELLES
You... you do? You're sure?
Please, Sister, will you take
another look, make sure...
NUN
(examines picture)
Yes. I remember her.
INT. MISSION YOUTH HOSTEL, STORAGE AREA -- DAY
In a basement corner, Welles watches as the nun uses keys to
open the door of a chain-link STORAGE CAGE. The cage is
full of junk, BOXES, LAMPS, stacks of CHAIRS.
NUN
She lived here for only about a
month, if I recall correctly. She
didn't return one night. She never
came back. I didn't know what to
think...
The nun enters the cage, pushes old BOXES out of her way,
looks up a cob-web covered METAL SHELVES.
NUN
Do you know what happened to her?
WELLES
I'm trying to find out. She was a
runaway. I'm looking into it for
her parents.
The nun sees what she wants, finds a STEP LADDER, tries to
open it. Welles comes to help her.
NUN
(pointing on shelf)
Can you get that down for me?
Welles climbs the ladder, points at boxes...
NUN
No, the next shelf... there...
Welles takes down a small SUITCASE. It's covered in dust.
He climbs down the ladder with it.
WELLES
What is this?
NUN
Those are her belongings.
WELLES
Her belongings?
NUN
That's her suitcase. I had
forgotten it, till you showed me
her picture.
Welles puts the suitcase down, examines the LUGGAGE TAG:
"<b>Mary Anne Mathews,</b>" no address. Welles looks to the nun.
WELLES
Whatever possessed you to keep this
all this time?
NUN
She was the kindest, sweetest girl
you'd ever want to meet. Oh, I
adored her. I supposed I always
hoped she'd be back. After a time,
all I could do was pray she had
moved on to better things. Can you
get this suitcase to her parents, if
you think it's appropriate?
WELLES
I'll do what I can.
INT. WELLES' ROOM -- NIGHT
Welles puts Mary's SUITCASE on the bed, opens it. He takes
out some of Mary's clothing, examines it, lays it aside.
He takes out a ROSARY, more CLOTHING. Resting on a SWEATER
are two CERAMIC FIGURINES; a teddy bear and kitten. Welles
examines them, frowning, puts them aside.
He takes out yellowed NEWSPAPER; Help Wanted CLASSIFIEDS,
"<b>July 2, 1992.</b>" Several job possibilities circled, others
crossed out. He finds baggie containing a few old JOINTS.
All that's left are more items of CLOTHING, a TOOTHBRUSH and
an ADDRESS BOOK. Welles examines the address book, finds a
folded piece of paper in the blank pages, unfolds it... it's
the TORN DIARY PAGE, a POEM written in Mary's hand...
<b>MARY'S VOICE</b> (V.O.)
(as Welles reads)
"Star light, star bright, First star
I've seen tonight, Wish I may, wish
I might, Have this wish I wish
tonight."
Welles goes to a drawer, takes out the photocopy of Mary's
DIARY. He turns to the ragged edge of the torn page, puts
the DIARY PAGE against it. Perfect match.
Welles stands looking at the poem. He turns the page over,
finds written, in cursive:
<b>Models Wanted 213-555-6643</b>
EXT. PHONE BOOTH -- DAY
Welles dials the number off the back of the torn diary page,
phone to his ear. It RINGS, RINGS, RINGS...
MAN'S VOICE (V.O.)
(from phone)
Celebrity Films.
Welles hangs up, begins searching the booth's YELLOW PAGES.
EXT. WILSHIRE OFFICE BUILDING -- DAY
A poverty stricken business section of Wilshire. Welles
gets out of his parked car, looks up at a decaying Art Deco
building that's painted blue top-to-bottom.
Welles crosses through traffic.
INT. WILSHIRE OFFICE BUILDING, LOBBY -- DAY
Welles studies the REGISTRY, finds "<b>Celebrity Films.</b>"
INT. WILSHIRE OFFICE BUILDING, STAIRWELL -- DAY
Paint's peeling. Walls are water stained. Welles climbs
stairs, winded, sweating, up the stairwell...
INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- DAY
Welles comes out a stairwell DOOR, catching his breath. A
couple of SECRETARIES wait for the elevator. Welles moves
down the hall, around a corner.
Each office door has a window of pebbled, translucent glass.
There's a "Dental Office," "Wilson Travel Cruises," and at
the end of the hall, "<b>Celebrity Films Inc., Eddie Poole,
Professional Casting and Distribution, Suite 804.</b>"
Welles heads back the way he came.
EXT. WILSHIRE OFFICE BUILDING -- DAY
Welles crosses back to the other side of the street, goes to
stand near his car. He looks up at the blue office
building, counting up floors, counting windows across.
Satisfied, he turns, backing up, looking up at the tall
OFFICE BUILDING across from the blue building. There's a
sign on this adjacent building, "<b>OFFICE SPACE AVAILABLE.</b>"
INT. ADJACENT OFFICE, 9TH FLOOR -- DAY
Empty office. Welles is let in by a disinterested LANDLORD.
Welles gives a cursory look around, goes to the windows and
opens the blinds.
These windows afford an excellent view of the blue building
across the street, at about 8th floor level.
WELLES
This is better.
(turns to landlord)
This will be fine.
INT. ADJACENT OFFICE -- NIGHT
Welles has transferred most of his belongings here, SUITCASE
open on the floor, CARD TABLE set up with fast food on it,
an ARMY COT against one wall. Welles sits in a chair at the
window, looks through BINOCULARS on a TRIPOD.
WELLES' P.O.V., THROUGH BINOCULARS: searching up the dark
floors of the blue building, as Welles counts under his
breath. Moving over... stopping on one window, FOCUSING...
Welles locks the tripod. He goes to sit on the army cot,
picks up his CELLULAR. He looks at the phone, deciding.
He puts down the phone. He turns off the LAMP on the floor,
lays back in the cot, going to sleep.
INT. ADJACENT OFFICE -- DAY
WELLES' P.O.V., THROUGH BINOCULARS: watching the window of
Celebrity Films Inc. We can see most of the office from
here. It's crowded with junk, BOXES, piles of VIDEO TAPES.
There's a disorganized DESK by the window.
Welles sits looking through the binoculars.
THROUGH BINOCULARS: a pudgy man, EDDIE POOLE, in a loud,
print shirt, comes to sit at the desk, looks through mail.
He smells sleazy even from here, lots of jewelry, Lots of
rings. He drinks coffee, answers the phone. He talks into
the phone, looking for something on his desk, agitation
growing, till he's shouting, then slams the phone down.
Welles rises. He looks to the wall where THREE PHOTOGRAPHS
culled from the snuff film are pinned up; the picture of
Mary, the picture of Masked Man's tattooed hand, and...
... the grainy image of the Third Man in the mirror.
Welles comes to study this third photo.
FADE TO BLACK:
INT. ADJACENT OFFICE -- DAY
THROUGH BINOCULARS: Eddie packs VIDEO TAPES into a box,
covering them with Styrofoam peanuts, sealing the box.
FADE TO BLACK:
INT. ADJACENT OFFICE -- DAY
THROUGH BINOCULARS: Eddie finishes a call and hangs up. He
sits back in his chair. He starts looking in his desk
drawers, finds a MAGAZINE and opens it on the desk. It's
porn. Eddie turns pages, looking at naked women. He sits
back in his chair, begins unbuckling his belt.
Welles pulls back from the binoculars in disgust.
WELLES
No thank you.
FADE TO BLACK:
INT. ADJACENT OFFICE -- NIGHT
THROUGH BINOCULARS: Eddie's on the phone, pouring himself a
drink from the liquor bottle on his desk, finishing the
call, hanging up. He shakes his head in disgust, drinks the
drink, walks out of view. After a moment, the lights go out.
EXT. HOLLYWOOD HILLS -- NIGHT
An old, dented CAR makes its way up the tight, twisting
roads of the Hollywood Hills. Eddie's at the wheel. Not
far behind, Welles' rental car follows...
FURTHER ON
Eddie's car pulls into the driveway under the porch of a
ramshackle HOUSE, parks. Welles' car passes by...
FURTHER, AROUND A CURVE
Welles' car slows once it's out of sight, turns around,
moving back down the hill, slowly...
INT. WELLES' CAR -- CONTINUOUS
Welles turns out his headlights, coming around the curve
just far enough so the ramshackle house is in view. Welles
watches Eddie walk up the stairs to the house.
FADE TO BLACK:
INT. ADJACENT OFFICE -- DAY
THROUGH BINOCULARS: Eddie has a visitor. There's a pretty
GIRL, wearing a tube top, in a chair facing his desk.
Eddie's talking, gesticulating, smiling, cajoling.
Welles watches through binoculars.
THROUGH BINOCULARS: Eddie's still taking, stands, coming
around the desk and placing a hand on the girl's shoulder.
The girl says something. Eddie responds. The woman shakes
her head, getting up to leave. Eddie seems to be asking her
to stay, following as she moves out of view. Eddie comes
back alone, sits at his desk, picks up the phone.
INT. ESPIONAGE SHOP -- DAY
Ultra high tech for sale. Welles examines items on the
sales counter as the SALESPERSON watches: a pair of sma1l,
round LISTENING DEVICES, a complicated RECEIVER/TAPE
RECORDER, and a TONE DECODER with LED window.
WELLES
Okay, I'll take it all.
SALESPERSON
Excellent. we accept MasterCard and
American Express.
WELLES
Cash.
Welles takes out a thick wad, starts counting.
SALESPERSON
Alright.
(at register)
May I have your phone number, area
code first?
WELLES
No, you may not.
SALESPERSON
Okay. Fine.
Welles lays the money on the counter. The salesperson takes
the money, recounting.
SALESPERSON
I'm required by state law to inform
you that, while it's perfectly legal
for you to purchase these items, it
is illegal for you to use them for
any sort of...
WELLES
Yeah, I know the spiel. If you
could bag it, I'll be on my way,
thank you.
SALESPERSON
Certainly, sir.
The salesperson starts punching keys on the register.
EXT. WILSHIRE OFFICE BUILDING -- NIGHT
The blue building sits completely dark.
INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- NIGHT
Welles comes quietly out from the stairwell, wears gloves.
He moves down the hall to the door of "Celebrity Films Inc."
He kneels, begins using LOCK-PICKING TOOLS on the door.
INT. CELEBRITY FILMS OFFICE -- NIGHT
Welles enters, shuts the door and locks it. He takes out
his penlight. There are POSTERS for cheap PORN FILMS on the
wall that we couldn't see through binoculars. Titles like
"Sex Doctor," "Deep Ass," and "Penal Colony."
There a two FILE CABINETS. Welles pulls a few drawers,
finds them locked. VIDEO CASSETTES are everywhere, on the
cabinets, on shelves, piled high on the floor.
Welles goes to Eddie's desk, looking in drawers. One drawer
is full of X-RATED MAGAZINES. Another's stuffed with
paperwork, call sheets, contracts.
Welles picks up Eddie's phone, unscrews the earpiece. He
takes the small, round LISTENING DEVICE from his pocket,
peels off backing to expose adhesive. He attaches the
listening device inside the phone, puts it back together.
Welles moves towards the door, sweeps the room with the
penlight. He stops at the file cabinets, takes his lock-
picking tools out, begins working on one file's lock.
He turns the lock, opens a file drawer. Empty. He opens
another. Inside: piles of CHILD PORNOGRAPHY.
Welles clenches his jaw.
Faces of children. Shirtless boys. Girls in pigtails.
INT. ADJACENT OFFICE -- DAY
Welles' RECEIVER/TAPE RECORDER'S set up by the window,
recording, with the TONE DECODER plugged into it. Welles
LISTENS through HEADPHONE, looking through binoculars.
EDDIE (V.O.)
(through headphones)
... half a dozen. This is good
stuff, Jimbo...
THROUGH BINOCULARS: Eddie's at his desk, on the PHONE...
EDDIE (V.O.)
You know how my tapes sell. People
eat this stuff up.
MALE VOICE (V.O.)
(from phone)
I had three jerkoffs trying to
return your tapes last month. Do
you know how bad a skin flick has to
be for some jackass to come back
into my place with a fucking receipt,
and try to fucking return it?
EDDIE (V.O.)
Maybe there's something wrong with
the scumbag customers coming into
your place, ever think of that?
MALE VOICE (V.O.)
The only thing wrong is the cheap,
softcore crap you're peddling,
Eddie. Where do you get this stuff?
EDDIE (V.O.)
Look, you cocksucker...
MALE VOICE (V.O.)
Get together some upscale product
where the girls still have teeth in
their head. Till then, fuck you.
EDDIE (V.O.)
Fuck you!
THROUGH BINOCULARS: Eddie slams down the phone. He CANNOT
BE HEARD any longer. He's cursing, shuffling paperwork.
Welles takes off headphones, picks up his cellular phone.
He drinks soda, opens the phone, dials, nervous, then looks
back through the binoculars. He waits, clears his throat.
The PHONE'S RINGING... RINGING...
On the floor, the REELS of the tape recorder are TURNING...
THROUGH BINOCULARS: Eddie answers the phone...
EDDIE (V.O.)
Celebrity Films.
WELLES (V.O.)
Eddie.
EDDIE (V.O.)
Yeah, who's this?
WELLES (V.O.)
I know what you did.
EDDIE (V.O.)
What?
WELLES (V.O.)
I know what you did.
EDDIE (V.O.)
Who is this.
WELLES (V.O.)
You murdered that girl, Eddie. Six
years ago...
EDDIE (V.O.)
What the fuck are you.. ?
WELLES (V.O.)
You killed that girl and you put it
on film. You and your pals, you're
fucked. You fucked up real good.
Welles hits disconnect, still looking through binoculars.
THROUGH BINOCULARS: Eddie's slow to hang up the phone. He
stands, looking down at the phone, frozen. Finally, he runs
his hands through his hair, looks around the room, sits back
down. He gets out his bottle and pours himself a drink.
Welles watches through binoculars, puts headphones back on.
WELLES
Come on, Eddie...
THROUGH BINOCULARS: Eddie sits motionless.
WELLES (O.S.)
... come on...
THROUGH BINOCULARS: Eddie picks up the phone, DIALS a
NUMBER. We hear the PHONE RING in the HEADPHONES
MAN'S VOICE (V.O.)
(through headphones)
... Hello?
EDDIE (V.O.)
(through headphones)
Dino, it's Eddie... Eddie Poole...
DINO (V.O.)
What do you want?
EDDIE (V.O.)
I just got a call... two seconds
ago, some motherfucker called...
says he knows about the loop.
DINO (V.O.)
What are you talking about?
EDDIE (V.O.)
The loop! The girl we did, what the
fuck do you think I'm talking
about?! This guy calls and says he
knows about the fucking loop...
DINO (V.O.)
Bullshit.
EDDIE (V.O.)
I'm telling you...
DINO (V.O.)
Blow me, you paranoid fuck, that's
impossible. Why are you bothering
me with this... ?
EDDIE (V.O.)
Because somebody just fucking called
me and fucking laid it out!
DINO (V.O.)
There's nothing there, you brain-
dead cunt. Think about it. There's
absolutely no way in this world to
connect us to anything. I want you
to hang the phone up, and if you
call me about this again I'm going
to send a friend of mine out there
and have him crack you open with a
fucking rib spreader.
EDDIE (V.O.)
Dino...
DINO (V.O)
Nobody knows anything.
THROUGH BINOCULARS: as DINO is HEARD HANGING UP, Eddie
reacts, picks up his phone and throws it across the office.
Welles sits back, trying to accept the realization that he's
found them. He looks to the PHOTO of the Third Man.
WELLES
That is you, isn't it, Eddie?
Welles goes to the RECORDER, turns on the TONE DECODER. Its
LED window LIGHTS UP. Welles hits STOP, REWIND, PLAY...
WELLES VOICE (V.O.)
(from recorder)
... and your pals, you're fucked...
Hits FAST FORWARD... hits PLAY, watching the TONE DECODER.
From the RECORDER, the SOUND of EDDIE DIALING a NUMBER on
his touch tone phone... and as EACH TONE is HEARD, a
<u>corresponding NUMBER appears on the DECODER'S LED readout</u>:
<b>...1 212 555 9906...</b>
The recorder continues, REPLAYING the CONVERSATION between
Eddie and Dino, while Welles studies the green LED digits.
WELLES
(quiet, to himself)
Two one two.
EXT. MANHATTAN CITYSCAPE -- ESTABLISHING -- NIGHT
The brilliant lights of New York's peerless skyscrapers.
EXT. 59TH STREET BRIDGE -- NIGHT
FOLLOW Welles' Ford as it moves along with traffic, crossing
the 59th Street Bridge, into the heart of Manhattan.
EXT. BANK -- ESTABLISHING -- DAY
"Chase Manhattan Bank," mid-town.
INT. CHASE MANHATTAN BANK, SAFE DEPOSIT BOOTH -- DAY
Welles puts the 8MM FILM into SAFE DEPOSIT DRAWER, shuts it.
INT. NY PUBLIC LIBRARY, REFERENCE -- DAY
Busy and crowded, but quiet. Welles places a massive tome
down on a table: "<b>Haines Criss-Cross Directory.</b>"
Welles sits, takes out his notepad, referring to the phone
number written: "<b>(212) 555-9906.</b>" He opens the reference
book, searching pages...
Thousands of TELEPHONE NUMBERS are LISTED in SEQUENCE, each
with an address. Welles runs his finger down the page.
EXT. SOHO STREETS -- DAY
PEDESTRIANS everywhere. Streets are clogged with DELIVERY
TRUCKS loading and unloading. Cars horns blow. Welles
walks to an old, WAREHOUSE BUILDING shoulder to shoulder
with other buildings, labeled "<b>1204</b>" in burnished steel.
Welles climbs the stairs, examines the buzzers.
The top button's labeled "Greystone Imports," the bottom
button reads "Lang Interior Design, by appt." The middle
button is labeled only by a drawing of a BLACK WIDOW SPIDER.
Welles looks up at the building.
EXT. 1204 WAREHOUSE, SOHO -- LATER DAY
The sun is low. Less activity on the street. Welles leans
against a car down the street, smoking a cigarette.
TWO WOMEN walk this way, both in spiked high heels, dressed
in cheap, short, formfitting skirts, both carrying duffel
bags. They start up the stairs of 1204...
Welles throws his cigarette, walks to follow.
The women hit the center button. A BUZZER sounds as they
head inside. Welles hurries up the stairs, catching the
door before it closes.
INT. 1204 WAREHOUSE, ELEVATOR -- DAY
Welles follows the women into a decrepit ELEVATOR. One
woman hits "2." Welles hits "3," steps back in the corner.
Elevator doors creak closed. The two women are heavily made
up, pretty, but worn, eyes dull.
Welles looks down at the leg of one woman, noticing bruises
through her fishnet stockings, poorly covered by make-up.
Elevator doors open on the SECOND FLOOR. The two women get
out and walk down a grey hallway, towards DOUBLE DOORS
painted black. Welles stops the elevator door from closing.
The women push the INTERCOM at the black doors. Another
dull BUZZ is HEARD as the women enter. The low rumble of
HEAVY METAL MUSIC is HEARD, SILENCED as doors swing shut.
Welles lets the elevator close.
EXT. 1204 WAREHOUSE -- DAY
The elevator opens on the FIRST FLOOR. Welles gets out,
instead of leaving the way he came, heads towards the
rear... FOLLOW him down a hallway, past a SERVICE ELEVATOR...
EXT. 1204 WAREHOUSE -- DAY
Welles comes out BACK DOORS into an sunless alleyway with
fire escapes above. There's a TRASH DUMPSTER, overflowing.
Rats scatter upon Welles, arrival.
Welles looks to make sure he's alone. He starts tearing
open GARBAGE BAGS. Flies swarm. One bag's filled with
empty food containers and old newspapers.
Welles tears open another bag, finds burnt out FLORESCENT
LIGHTBULBS, digs out a handful of empty PHOTO PAPER
PACKAGES, bottles of DEVELOPING CHEMICALS. He pulls out a
few MAGAZINES; Time, Newsweek, etc...
The magazines are cut up, falling apart, with pictures
chopped out from many pages. Welles examines ADDRESS LABELS:
<b>"Dino Velvet/D.V. Films
1204 Keller Street
New York, NY 10049</b>"
INT. PHONE BOOTH, NYC STREETS -- NIGHT
Welles is on the PHONE. The city bustles past.
WELLES
(into phone)
What do you know about a guy called
Dino Velvet? Dino Velvet Films?
INT. ADULT BOOKSTORE -- DAY -- INTERCUT
Max is on the phone by the register, ringing purchases.
MAX
(into phone)
Dino Velvet... yeah, he's like the
John Luc Godard of S+M flicks,
supposed to be a real weirdo.
WELLES (V.O.)
(from phone)
A weirdo making S+M films? Who'd
have thought it?
MAX
(into phone)
His stuff comes out of New York.
Bondage and fetish videos, Gothic
Hardcore. Definitely not for the
squeamish.
WELLES (V.O.)
Specialty product.
MAX
You're learning.
WELLES (V.O.)
Where does he sell it?
MAX
Out of the back of bondage magazines
mostly, but you can find it on the
street if you look. He'll also do
commissions, for enough money...
INT. PHONE BOOTH -- DAY -- CONTINUOUS
MAX (V.O.)
(from phone)
Nothing illegal, it's always
borderline. Like if some freak
wants to see a transvestite in a
full rubber immersion suit getting
an enema from a...
WELLES
(into phone)
Alright, I get the picture.
MAX (V.O.)
He cuts all kinds of other stuff
into his movies; photographs,
newsreel footage, subliminal images.
Thinks he's making art.
WELLES
Well, I'm in New York now. What do
you say to flying out and giving me
a hand?
MAX (V.O.)
I'm a working stiff, pops.
WELLES
Take a vacation. I'll pay you four
hundred a day, plus expenses.
MAX (V.O.)
You want me to come out there and
play private eye?
WELLES
Consider it. Meanwhile, dig up
whatever Dino Velvet films you can.
Get receipts. I'll call back.
MAX (V.O.)
See ya.
Welles hangs up, starts feeding quarters into the phone.
INT. MRS. CHRISTIAN'S BEDROOM -- NIGHT -- CONTINUOUS
Mrs. Christian's in bed, pale and sickly. The PHONE RINGS.
Mrs. Christian reaches for it.
MRS CHRISTIAN
(into phone, weakly)
Hello?
WELLES (V.O.)
(from phone)
Mrs. Christian, Tom Welles here.
MRS CHRISTIAN
(coughing)
How are you? Having any luck?
WELLES (V.O.)
I don't know if luck's the word.
Are you feeling alright?
MRS CHRISTIAN
I've been ordered into bed. The
doctor says I've gotten the flu, or
some other wretched ailment.
WELLES (V.O.)
I hope it's nothing serious.
MRS CHRISTIAN
Nothing more than a bother. Have
you any news for me?
INT. PHONE BOOTH -- DAY -- CONTINUOUS
WELLES
(into phone)
I've made progress. I'm in
Manhattan. Once a few more pieces
fall into place, I'll drive to you
and give you an update.
MRS CHRISTIAN (V.O.)
(from phone)
Fine...
MRS. CHRISTIAN is HEARD COUGHING. Welles waits.
WELLES
I've got about five thousand left in
cash, but I'll need another thirty,
if you approve.
MRS CHRISTIAN
How will I get it to you?
WELLES
If you have a pencil and paper, I'll
tell you how to send it.
EXT. MOTEL, HELL'S KITCHEN -- NIGHT
A TAXI pulls over in front of this flea-bag motel. Max gets
out with a SUITCASE, looks at the dubious accommodations.
INT. MOTEL, MAX'S ROOM -- NIGHT
Max enters with Welles, turns on a light and throws his
suitcase on the bed. The room is disgusting.
MAX
You didn't say it was gonna be this
luxurious.
WELLES
It's their Presidential Suite.
MAX
Great.
Max looks in the bathroom.
MAX
Oh, come on, man, what are we doing
in this flea bag?
WELLES
It's cheap, and people know to mind
their own business. What have you
got for me?
Max opens his suitcase, takes out THREE VIDEO TAPES.
He hands them to Welles. The boxes are covered in jumbled
PHOTO COLLAGES: American flag, S+M men and women, a skull,
mannequins, a scorpion, cut-outs of arms, legs and eyeballs.
MAX
Dino Velvet.
INT. WELLES' MOTEL ROOM -- NIGHT
Welles is lit by the flicker from the TELEVISION SCREEN. WE
SEE NOTHING. We HEAR the rhythmic MUFFLED MOANS of a WOMAN
from the TV, can't tell if it's pleasure or pain.
Max is asleep in the bed, PIZZA BOX near his feet.
Welles drinks beer, gets up and ejects the CASSETTE from a
VCR, tosses it aside, tired. He picks another Dino Velvet
TAPE, puts it in, sits.
ON TV: GOTHIC ROCK is HEARD over old, scratchy IMAGES: of
Klansmen around a burning cross... Dracula menacing a
sleeping woman... a man in a Devil costume dancing...
Welles opens another beer.
ON TV: a WOMAN is tied up, arms in the air, hanging from the
ceiling, gagged and blindfolded, in a dungeon lit by
candelabras. Then, glimpsed IMAGES: worms writhing in
slime... gargoyles... a guillotine falling. Then, the bound
woman, struggling. A MASKED MAN in a leather jacket enters.
He wears a LEATHER MASK with zipper eyes and mouth...
This focuses Welles' attention.
ON TV: the Masked Man circles the captured woman...
WELLES
Max... wake up...
Max awakens, rolling over, groggy.
MAX
Wha... ?
WELLES
(points at TV)
Who is this, in the mask? Who is he?
Max tries to see, eyes barely open.
MAX
He's one of the lunatics Dino uses.
He's in a bunch of these.
Welles watches. On the TV, Masked Man takes off his jacket
shirtless, reveals an impossibly muscled body. Huge arms,
thick chest, oiled, dotted in pimples.
MAX
Why? He have something to do with
whatever you're into?
Still watching the behemoth on TV, Welles is less sure.
ON TV: the bulging Masked Man flexes, ripped.
WELLES
No... it's nothing... that's not him.
Welles rubs his eyes, sits back. Max sits up, watching.
ON TV: Masked Man pulls the bound woman's head back by her
hair, licks her face with his thick tongue...
CLOSE ON: Masked Man grips the woman's head, still licking.
He pulls down the woman's blindfold...
Welles sits forward, realizing, horrified...
Welles goes to the VCR, hits PAUSE. The IMAGE on TV
FREEZES. Welles goes back, FRAME by FRAME...
... to the CLOSE UP where Masked Man grips the woman's face.
FREEZE FRAME. On Masked Man's hand: a TATTOO, on the arch
between his forefinger and thumb, same as the scrawny Masked
Man in the snuff film. A PENTAGRAM TATTOO.
WELLES
Who is he?
MAX
I told you, he's one of Dino
Velvet's stock players...
WELLES
Who is he, his <u>name</u>?
MAX
Nobody knows his name. That's his
thing. He always wears a mask. You
never see his face. He calls
himself "Machine," that's what they
call him. Machine.
Welles hits PLAY. On TV, Masked Man runs his hands up and
down the woman's body. The woman's eyes are filled with
fear. Welles sits, unnerved, watching.
MAX
They say he's half brain-dead from
all the steroids he's using.
Max rolls over, trying to get back to sleep.
MAX
He's a brutal motherfucker, man. He
loves what he does for a living.
INT. WELLES' MOTEL ROOM -- DAY
Welles enters, carries an OVERNIGHT PACKAGE and his LOCK
BOX. At the desk, he tears open the package, opens the
MANILA ENVELOPE inside; finds FIFTY THOUSAND DOLLARS in
thousand dollar bills, wrapped in plastic and masking tape.
Welles takes the lock box to the bed and works the
combination, opens it. He takes out the holster, stands
looking down at the gun. He puts the holster on.
EXT. 1204 WAREHOUSE -- DAY
Welles' Ford waits with turn signal on. A car pulls out of
a parking space. Welles takes the space.
INT. WELLES' CAR -- DAY
Max is in the passenger seat. Welles looks to 1204.
WELLES
You don't need to be here.
MAX
What kind of Junior P.I. would I be
if I didn't go with you?
INT. 1204 WAREHOUSE, SECOND FLOOR -- DAY
Welles and Max get off the elevator, moving down the grey
hall, to the black doors. Welles pushes the INTERCOM
BUTTON. After a moment, the INTERCOM CRACKLES...
MAN'S VOICE (V.O.)
(from intercom)
Who is it?
Welles waits, presses the button again.
INT. DINO VELVET STUDIO -- DAY
The doors BUZZ and Welles and Max warily enter this large,
dark, converted warehouse. Square pillars shoot from floor
to ceiling. Shafts of light cut down from high windows.
A large THUG in a pinstripe suit crosses from a far DESK.
THUG
You're in the wrong place.
WELLES
We're looking for Mr. Velvet.
THUG
He's not here.
Welles looks around, at piles of PROPS; a huge faux-stone
ANGEL and GARGOYLES, elaborate CANDELABRAS, a huge BIRDCAGE,
massive WOODEN CROSS, NAZI FLAGS.
WELLES
Why don't you tell him we're here to
give him a large sum of money. If
he's not interested, we'll go.
THUG
You should leave now, before I have
to remove you.
Welles just stands looking at the thug. A VOICE is HEARD...
DINO VELVET'S VOICE (V.O.)
(from SPEAKERS)
Show them in, Milo.
Welles and Max look up. There are SPEAKERS mounted high up
on the pillars, and SURVEILLANCE CAMERAS looking down.
WELLES
You heard the boss, Milo.
The disgruntled thug starts back across the studio towards
a distant DOOR. Welles and Max follow...
They notice an elaborate set built in one corner, a TORTURE
CHAMBER, complete with RACK and IRON MAIDEN.
INT. DINO VELVET'S OFFICE -- DAY
Thug opens the door and lets Welles and Max in.
The office is huge, windowless walls covered in thousands of
PICTURES from every conceivable source, torn and cut, pinned
up to form an indecipherable collage. A tall LADDER leans
against one wall, near three TELEVISIONS.
DINO VELVET rises behind his desk, a small, bird-like man,
wearing a black suit and bad hairpiece.
DINO VELVET
Come in. Make yourself comfortable.
Welles shakes Dino's hand. Max looks up at the walls.
IMAGES; porn pictures, news photos, world leaders, autopsy
photos, armies and insects, the naked and the dead.
WELLES
It's an honor to meet you. Thank
you for seeing us.
DINO VELVET
What can I do for you today?
Welles sits. Shelves behind Dino's desk are piled high with
VIDEO CASSETTES, old MOVIE CAMERAS, big REELS of 16mm FILM.
VIDEOS and MAGAZINES are stacked everywhere.
WELLES
I'd like to commission a work. I'm
a great admirer of yours.
DINO VELVET
Flattering. And, who's your
colorful little chum?
WELLES
A fellow investor.
DINO VELVET
Hmm.
MAX
You're the only one still shooting
film and transferring it to video.
Nobody appreciates that kind of
integrity anymore... the grain, the
gritty look you get.
DINO VELVET
Well, I'm glad you appreciate it.
(to Welles)
What would you say is your favorite
piece?
Welles considers. Max glances over, looks back to the walls.
MAX
I know if I had to pick, it'd be
"Choke," or "Devil."
WELLES
"Devil" frightened me as much as it
excited me, but I'd be hard pressed
to choose a favorite.
Dino grins, showing yellowed teeth.
DINO VELVET
You said something about money.
WELLES
Yes. What we're looking for is
rather specific.
Welles takes out an ENVELOPE, puts it on the desk.
WELLES
That's five thousand dollars.
DINO VELVET
Is it?
WELLES
Five thousand now, five thousand on
delivery.
Two women, one white and one black,
as long as they have large breasts.
Hard bondage, or course. Other than
that, trusting your artistic
interpretation, I have only two
stipulations.
DINO VELVET
And they are?
WELLES
I want to watch you work.
DINO VELVET
I'll consider it.
WELLES
And the other performer... it has to
be that monster you use... the man
in the mask.
DINO VELVET
Machine.
WELLES
If it's not him, there's no deal.
Dino drums his painted fingernails on his lips.
DINO VELVET
He might be interested... but it
would mean another five thousand.
WELLES
We can do that.
DINO VELVET
Well, well, I'll have to put my
thinking-cap on about all this.
You'll leave the money as a deposit?
(off Welles' nod)
Very good.
Dino stands, picks up a still CAMERA off his desk and comes
to look at Welles, studying him.
DINO VELVET
You have a beautiful face... the way
the light hits it. I'd like to take
your picture. You don't mind?
WELLES
I'd rather you didn't.
DINO VELVET
What's the problem?
WELLES
I'm camera shy.
DINO VELVET
You trust me to keep your money, but
not to take your picture?
WELLES
Those are two different kinds of
trust.
(stands)
Thank you for your time. I hope we
can do business.
Welles leaves. Max goes with him. Dino watches them leave.
EXT. MANHATTAN STREET -- NIGHT
HORNS BLARE. TWO CARS have collided head-on. A large CROWD
gathers. One windshield's shattered, blood spattered. The
driver is slumped over the wheel, gushing blood.
On a nearby street corner, Welles in on a PAY PHONE.
HEAVY METAL can be HEARD filtered through the receiver.
WELLES
(into phone)
So, what do you say?
INT. DINO VELVET'S OFFICE -- NIGHT -- CONTINUOUS
Dino's stands in the middle of his office, naked, his back
to us, 8MM camera in hand, on the phone. A NAKED WOMAN
dances for Dino. A Heavy Metal MUSIC VIDEO plays on a TV.
DINO VELVET
(into phone)
I'll do this for you. Fifteen
thousand dollars.
WELLES (V.O.)
(from phone)
Machine's in?
DINO VELVET
(into phone)
He's in. It will be his pleasure.
INT. PHONE BOOTH -- NIGHT -- CONTINUOUS
DINO VELVET (V.O.)
(from phone)
Be at 366 Hoyt Avenue, three
o'clock, tomorrow.
Welles digs out his notepad, writing.
WELLES
(into phone)
Where's that?
DINO VELVET (V.O.)
Brooklyn. Don't be late.
EXT. MOTEL COURTYARD, POOL -- NIGHT
HORNS and TRAFFIC are HEARD. Max and Welles sit in lawn
chairs at the tiny pool. Welles smokes. Max drinks beer.
They watch an ELDERLY WOMAN in a one piece bathing suit
climb from the pool and walk to the diving board, diving in.
MAX
What's next?
WELLES
I'm trying to figure that out
myself. I have to see Machine
without his mask.
MAX
Still don't want to tell me what
you're doing?
WELLES
Nope.
The old woman climbs out and heads back to the diving board.
Welles takes out a thick ENVELOPE, hands it to Max.
WELLES
This is for you.
Max doesn't understand, opens the envelope, finds about
fifteen thousand dollars in the envelope.
MAX
What's this?
WELLES
It's money. People use it to
purchase goods and services.
Max looks at it again, can't believe it.
MAX
Look... that's awful generous and
everything...
WELLES
It's not my money. The woman I got
it from is never going to give it a
second thought. Let's not make a
big deal out of this, okay?
(pause)
Go be a race car driver. Go run for
President. Whatever.
Welles puts his cigarette out, stands.
WELLES
I'll see you around.
Welles walks away, heading to his room. Max watches him go,
doesn't know what to say, looks in the envelope.
The old woman climbs out and heads back to the diving board.
EXT. BROOKLYN STREETS -- DAY
A deserted, war zone neighborhood of abandoned, graffittied
buildings. A few burnt out cars on the street. Welles
drives through, watchful.
Welles drives past a huge TWO-STORY WAREHOUSE, does a u-turn.
He parks the car.
INT. WELLES' CAR -- DAY
Welles checks his gun, returns it to his holster.
EXT. BROOKLYN WAREHOUSE -- DAY
Welles climbs crumbling concrete stairs, looking all
directions, crossing a LOADING DOCK towards a DOOR...
INT. BROOKLYN WAREHOUSE -- DAY
Welles enters slowly, trying to get his eyes to adjust to
the darkness. A vast, empty space looms before him.
In the middle of the warehouse, Dino Velvet stands, in a
powder blue suit, holding an archery BOW and ARROW.
DINO VELVET
There you are. Come join us.
There's a wrought IRON BED not far from Dino. MACHINE is
seated on the mattress, a huge man, wearing a leather S+M
harness and the same WRESTLING MASK as in the snuff film.
Welles gathers his courage, walks towards them.
Dino pulls back on the bow, aiming away across the
warehouse. He stands by a TABLE with a QUIVER of ARROWS
propped up. He shoots an arrow toward a large TARGET...
Strikes the target dead center, BULL'S-EYE. As Welles gets
closer, he notices several things ...
... a 16MM CAMERA mounted on a TRIPOD, facing the bed, along
with several movie LIGHTS
... several BOWIE KNIFES are laid out on the table, beside
a pair of HANDCUFFS...
... Machine is watching him as he approaches...
Welles stops, not far from Dino and Machine, but keeping his
distance. Dino's still firing arrows at the target.
Machine's still staring at Welles.
WELLES
(to Machine)
Hello.
Machine just stares at him with bloodshot eyes.
DINO VELVET
You brought the money?
WELLES
(takes out envelope)
Right here.
Dino lets fly another arrow... another bull's-eye, then
turns to look at Welles with a smile.
DINO VELVET
Excellent.
WELLES
Where are the women?
DINO VELVET
They should be here any minute.
Welles comes forward slowly, places the envelope on the
table, beside Bowie knifes. He's sweating.
WELLES
(of the knifes)
What are these for?
DINO VELVET
Hmm? Oh, the knifes? They're just
props. Nice, aren't they?
WELLES
Sure.
Dino walks across towards the target.
DINO VELVET
Machine and I were just talking
about knifes. The beauty of
knifes...
Dino pulls arrows from the target.
DINO VELVET
He was saying how fascinated he is
by their simple ability to be sharp.
The ability of a piece of metal to
be so thin that it is almost
nothing...
Dino walks back to the table, replaces the arrows in the
quiver, cueing another arrow in is bow.
DINO VELVET
So close to nothingness that it cuts
with minimum effort, because it's so
non-intrusive. Flesh is fooled. It
blooms open as the blade widens, but
by then it's too late, because the
knife's already doing its pure,
simple damage.
Dino shoots another arrow to the target.
A CLATTER attracts Welles attention. Far across the
warehouse, a DELIVERY DOOR rolls upwards. A CAR with tinted
windows drives in...
The MAN who opened the door, silhouetted in sunlight, stays
behind to close the door as the car pulls forward...
DINO VELVET
Ah, ours guests have arrived.
Machine stands. He is a giant.
Welles takes a few steps back, wary, sweating hard now.
The car parks across the warehouse, not far from the target.
Dino puts another arrow in his bow, pulls it taunt, aims at
the target... turns, aims the arrow at Welles.
DINO VELVET
Mister Welles... would you be so
kind as to remove any firearms from
your person?
WELLES
What are you... ?
DINO VELVET
Take out your gun!
Welles brings his hand towards his holster...
DINO VELVET
Slowly. Let me see it.
Welles takes out his gun, looks across the warehouse...
The SILHOUETTED MAN is walking this way. Can't tell who he
is yet. Machine heads the direction of the parked car.
DINO VELVET
Empty the gun onto the table, very
carefully.
WELLES
Look, I don't know what this...
DINO VELVET
Shut up, cunt! Do exactly as I say,
or I'll put this arrow through your
throat.
Welles obeys, helpless, dumps the bullets out on the table.
The SILHOUETTED MAN'S getting closer. It's Eddie Poole.
EDDIE
Is that him?
DINO VELVET
(to Welles)
Put the gun down, take the
handcuffs. Handcuff yourself to the
bed.
Welles obeys, walks to the bed.
Welles attaches one cuff to the bed's iron rail, fastens the
other cuff around his wrist. Dino puts down the bow and arrow.
DINO VELVET
(still to Welles)
Didn't know what to make of you at
first, and you certainly had Eddie
on pins and needles. But, lo and
behold, from out of the blue came an
old business acquaintance to explain
everything...
Welles looks across to the car...
The sinister lawyer, Longdale, gets out from behind the
wheel and hands the keys to Machine, walks this way...
EDDIE
This is the fucker? Motherfucker,
doesn't look like anything...
Eddie walks around the bed, studies Welles. Welles watches
him. Eddie goes to stand behind Welles, rushes forward...
PUNCHES Welles in the side of the head.
Welles goes down, clutching his face.
EDDIE
Doesn't look like shit.
Eddie pulls Welles to his feet, throws him against the bed,
frisking him from head to toe.
Longdale comes to stand beside Dino, nervous, taking out a
tiny HANDGUN and pointing it at Welles. Welles looks up,
holding his head, afraid, sits on the bed.
DINO VELVET
(to Welles)
You remember Mr. Longdale, don't you?
WELLES
I remember him.
LONGDALE
Let's get this over with.
DINO VELVET
Fine idea.
Dino comes to sit on the bed beside Welles.
DINO VELVET
You're going to go get the film you
received from Mrs. Christian, bring
it here and put it in my hand. And
to save time, so we make this as
efficient as possible, there's an
incentive...
Dino puts his fingers in his mouth, lets out a sharp WHISTLE.
Across the warehouse, Machine uses the car keys to open the
trunk of the car, pulls SOMEONE out...
It's Max, beaten bloody, bound, face swollen, gagged, hardly
conscious. Machine throws him to the floor.
WELLES
No...
Welles tries to go towards Max, yanked back by the
handcuffs, pulls the bed a few inches, but it's heavy.
DINO VELVET
Friend of yours?
WELLES
Look, he's got nothing to do with
this... let him go...
DINO VELVET
Can you guess what I'm going to say
next?
WELLES
He doesn't know anything... he's got
nothing to do with this...
DINO VELVET
Bring the film, or we kill him.
Sorrow and rage rises up in Welles, but there's no choice.
WELLES
I'll get it. It's in a safe deposit
box, in the city...
DINO VELVET
How cooperative. Longdale will keep
you company.
Dino takes out HANDCUFF KEYS, throws them to Longdale.
Longdale approaches Welles carefully, unlocking him.
DINO VELVET
Don't let Longdale's questionable
choice of weapon give you any ideas.
If his fey little gun puts enough
little holes in you, you'll be just
as dead... and so will Max.
EDDIE
Move it, dirtbag... !
Eddie comes to SHOVE Welles. Welles stumbles to the
ground, gets to his feet. Welles walks, takes one last
glance back towards Max. Longdale follows.
DINO VELVET
(watching them go)
Do hurry.
EXT. MANHATTAN STREETS -- DAY
Welles' car moves in the slow flow of traffic into mid-town.
INT. WELLES' CAR -- CONTINUOUS
Welles is at the wheel. Longdale is in the passenger seat,
gun held in his lap.
WELLES
You were the middleman, am I right?
Old man Christian wasn't about to go
shopping for a snuff film himself.
LONGDALE
Wouldn't exactly have been possible
for a man of his stature.
WELLES
So, he sent you, gave you the money,
his errand-boy. And if you refused,
it wasn't like you could tell anyone
your pervert boss just asked you to
get him a snuff film. That's the
beauty of lawyer/client privilege.
LONGDALE
That's trust. Mr. Christian trusted
me implicitly.
WELLES
Must have paid you a lot, for you to
risk everything. Would've had to
have cut yourself a real nice piece
of money.
LONGDALE
I was well compensated.
WELLES
That's why you got scared when Mrs.
Christian hired me. You knew about
the film, figured it had to be in
that safe. How'd you find me?
LONGDALE
Never mind how I found you.
WELLES
Followed me... must have freaked out
when you saw me closing in on your
buddies...
LONGDALE
They're no friends of mine.
WELLES
Except, you're willing commit murder
with them.
LONGDALE
None of this would be happening if
you would have left it alone. If
you weren't digging up a girl who
died six years ago. A girl no one
even remembers.
WELLES
Mary Anne Mathews, that was her
name. Her mom remembers her.
Welles looks at Longdale.
WELLES
You found these smut dealers and
asked to buy a snuff film, right?
Wanted them to find you one. Well,
they didn't <u>find</u> you one, Longdale,
they went out and <u>made</u> you one...
LONGDALE
Shut up.
WELLES
Mary Anne Mathews was alive till you
paid money to have her murdered.
LONGDALE
Shut your mouth and drive!
WELLES
Did it get him off, huh, watching
them cut her up? Tell me, because
I really want to understand. Did he
jerk off to it? You watch it with
him, sit there giving him a handjob
while you both watched... ?
Longdale jams the gun against Welles' side.
LONGDALE
You're making me very angry.
WELLES
Just tell me. Tell me some more of
the secrets you and Christian
shared. What kind of degenerate
pervert was he really? What the
fuck did he want with a snuff film?
LONGDALE
You're asking me why?
WELLES
I'm asking.
Longdale sits back, wipes sweat from his face.
LONGDALE
A man like Mr. Christian, a great
man... all his money, all his
power... a man who attained
everything there was to attain...
WELLES
Why did he buy a film of some poor,
lost girl getting butchered?
LONGDALE
Isn't it incredibly obvious?
WELLES
Enlighten me.
LONGDALE
Because he could. He did it because
he could.
(pause)
What other reason were you looking
for?
Welles tightens his grip on the wheel, numbed.
EXT. CHASE MANHATTAN BANK -- DAY
Welles double parks, puts his hazard lights on.
INT. WELLES' CAR -- CONTINUOUS
Longdale sits forward, looks to the bank.
LONGDALE
You've got four minutes till I call
Mr. Velvet and let him know there's
a problem.
Longdale takes a CELLULAR PHONE from his pocket, shows it.
Welles climbs out, heading to the bank...
INT. BANK, SAFE DEPOSIT VAULT -- DAY
Welles and the SAFE DEPOSIT MANAGER enter. They go to put
their KEYS in one drawer, unlocking it a pulling it out.
MANAGER
May I show you to a booth...
WELLES
No, I've got it.
Welles pulls the drawer open, takes the 8MM film out and
hands the empty drawer to the manager, exiting.
INT. BANK -- DAY
Welles comes out from the SAFE DEPOSIT VAULT, pocketing the
film, crossing towards the entrance, looking around...
... at other CUSTOMERS waiting on line...
... at a GUARD with a GUN at his side...
Welles detours, toward one of the LOAN DESKS. The BANK
EMPLOYEE behind the desk is occupied, on the phone.
As Welles moves past the desk, he grabs a PAIR of SCISSORS
from a pencil holder and palms it, heading to the door...
INT. WELLES' CAR -- DAY
Welles gets behind the wheel. Longdale looks at his watch.
LONGDALE
You almost went over your limit.
WELLES
Fuck you.
Welles puts the car in gear and drives.
LONGDALE
Give me the film.
WELLES
You'll get it when we get there.
Longdale puts the gun to the side of Welles' head.
LONGDALE
Give me the film.
WELLES
Go ahead, shoot me. Then try
driving to Brooklyn with my brains
all over the windshield.
Welles keeps driving. Longdale sits back, stewing.
INT. WAREHOUSE -- DAY
The door is kicked open. Welles enters, takes the 8MM FILM
out and holds it in his hand. Longdale follows.
As Welles moves forward, his face goes slack...
Machine is seated on the bed, Eddie and Dino stand smoking
cigarettes, and further on, <u>Max is tied to the target,</u>
<u>slumped over, three arrows in his chest</u>. Dead.
WELLES
No!!
Welles runs towards Max, crying out, tears in his eyes...
Machine rises, goes to intercept Welles, grabbing him.
Welles tries to break free, but Machine lifts Welles up and
throws him brutally to the ground.
Welles scrambles to get up...
WELLES
You fuckers!
Eddie comes to KICK Welles in the face.
Welles is sent sprawling, blood gushing from his nose. He
lays there, stunned, weeping.
Eddie pries the 8MM FILM from Welles' hand, tosses it...
Dino catches the film.
Machine comes to drag Welles towards the bed.
Dino unspools the film, holding it up to examine it.
Machine handcuffs Welles to the metal bedframe. Welles
falls to his knees, holding his face.
Eddie PUNCHES Welles in the head.
EDDIE
You're a dead man.
DINO VELVET
Leave him alone.
EDDIE
Fuck off.
Eddie PUNCHES Welles in the kidney. Welles tries to protect
himself. Eddie raises his fist to punch again, but Machine
catches Eddie's fist, throws Eddie back...
EDDIE
What the fuck... !
DINO
I promised him to Machine.
Eddie looks up at Machine, who towers over him.
EDDIE
... sorry...
DINO VELVET
First things first. You might want
to watch this, Mr. Welles...
Welles looks up through tears...
Dino drops the 8MM FILM on the floor, takes a small bottle
of lighter fluid from his pocket. Longdale comes to watch.
Welles watches helpless, agonizing...
WELLES
Don't... please...
Dino drops the film to the floor, sprays it with fluid,
takes out matches, light one, drops it...
The 8MM FILM goes up in flame...
Welles watches, quaking, hysterical, trying to pull himself
towards the flame, dragging the bed...
The film is destroyed by flame...
Welles gives up, presses his face to the floor, eyes shut.
DINO VELVET
And so it ends. It's as if she
never existed.
Welles falls back, gasping, wiping blood and tears and
spittle from his face, getting slowly, to his feet.
DINO VELVET
Don't blame yourself. You were in
way over your head.
He looks to Max's corpse, to the smoldering film...
Swallowing back his fear, panic and rage...
WELLES
Motherfuckers. Small time,
motherfuckers... ! Tell me
something...
Welles spits blood, hangs onto the bed for support.
WELLES
I know why you did it, Dino,
Eddie... but, why'd the lawyer do
it? Must have been a helluva lot of
money, right? One fuckload of
money...
Welles sits on the bed, eyes burning with fury.
WELLES
So, what are you all still doing
small time, huh? What are you still
doing in the sewer, Eddie?!
Christian gave Longdale a million
dollars to find him a snuff film.
How much did you ever see... ?
Eddie and Dino look to Longdale.
EDDIE
What's he talking about?
WELLES
One million dollars, Dino. How much
did he tell you he had...
Longdale's getting very nervous.
LONGDALE
He's lying.
WELLES
Look at him. You think he played it
square? How much did he give you,
how much did he keep for himself?
Eddie walks towards Longdale...
EDDIE
What the fuck's he talking about?
Longdale takes out his gun, aims it at Machine, Dino and
Eddie, scared...
LONGDALE
Stay away from me.
DINO VELVET
What's going on, Longdale? Did this
happen?
EDDIE
You sell us short, you fuck?
LONGDALE
Stay back! You have a gun, Eddie,
show it to me. Now!
Eddie slowly takes out his gun, seething.
LONGDALE
Put it on the ground, kick it here...
Eddie puts the gun down, kicks it...
Longdale picks it up, throws it far away.
EDDIE
You fucking lawyer...
LONGDALE
Move back! All of you... move!
Machine, Dino and Eddie stand between Longdale and the car
with tinted windows parked across the warehouse...
DINO VELVET
What were you thinking?
Welles watches as Machine, Dino and Eddie back slowly away
from Longdale. Longdale's gun hand is shaky...
Welles tries to drag himself towards the table where his gun
and bullets are, dragging the bed, inch by inch...
Longdale back away, trying to angle around the menacing trio
so he can get to the car...
LONGDALE
Back off! Everything's been taken
care of, and I'm leaving now...
DINO VELVET
You're not going anywhere if you
fucked us, lawyer.
LONGDALE
I'm leaving.
EDDIE
You got the guts, tough guy? Gonna
kill us all, is that it?
DINO VELVET
You betrayed us.
LONGDALE
Stay where you are!
Machine edges forward, holding his hands in the air.
Longdale brandishes the gun...
LONGDALE
Keep back!
Machine, Eddie and Dino are held at bay...
DINO VELVET
You're not gonna live through this.
Welles still tries to get to the table, wrist bleeding in
the cuff, bed screeching across the floor...
Machine, hands up, slowly reaches behind his shoulder,
touches the handle of a huge KNIFE sheathed to his back.
LONGDALE
Our business is done, I'm leaving,
no one's going to stop me...
Longdale glances towards the car, seems like he's about to
make a run for it. Dino Velvet takes a step forward...
DINO VELVET
Fuck you!
Machine unsheathes the KNIFE and THROWS...
THUNK! The knife imbeds to the hilt in Longdale's chest and
Longdale's gun FIRES...
Dino Velvet flies backwards, shot in the face!
Dino hits the ground, screaming, writhing, hands to his
face, blood pouring out between his fingers.
Longdale falls back onto his ass, sitting there, eyes bugged
out in surprise. He looks down at the knife in his chest.
Machine lets out a SCREAM, runs to Dino...
Machine falls to his knees and grips Dino, tries to hold
him. Dino's screaming, squirming frantically...
Longdale sits looking down at the knife in his chest, looks
up, and gallons of blood pour from his mouth...
EDDIE
Fuck.
Eddie comes to look down at the Longdale. Longdale falls
back, dead, blood still flowing from his maw.
Welles drags the heavy bed, getting closer to the table...
Eddie spins, looks across to see Welles struggling...
Dino breaks free from Machine, runs blindly, still holding
his gushing face, falls, tries to get back up...
Eddie runs towards Welles.
Dino stumbles forwards, writhing, then suddenly lays still.
Machine rises, looking at Dino. Tears come out from
Machine's eyes and roll down his mask.
One last gasp and shudder from Dino's body; death rattle.
Welles pulls the bed, practically pulling his arm from the
socket, desperately clawing towards the table...
The table is mere feet away...
Eddie arrives, KICK Welles in the ribs...
Welles recoils. Eddies KICKS again. Welles curls into a
ball. Eddie KICKS again...
MACHINE (O.S.)
NO!
Eddie stops, looks to Machine.
MACHINE
He's mine!
Machine strides over the Longdale's corpse, puts his foot on
Longdale's chest, yanks out the knife...
Machine starts this way...
Eddie backs from Welles. Welles looks up, trying to shake
off unconsciousness, sees Machine coming...
Welles bows down, on his knees, as if to accept his fate...
Reaching his free hand into his suit pocket...
WELLES
No, no, no... please, don't kill
me... please... !
Machine arrives, knife in hand, lifts Welles' head back by
the hair, brings the knife hand back...
EDDIE
Do him good.
Welles rises suddenly, arm shooting forward, STABBING
SCISSORS deep in Machine stomach...
Machine ROARS, falling back, pitching forward...
Machine's knife clatters to the ground.
Eddie's eyes go wide.
Machine hits the floor, clutching his guts.
Welles pushes upwards with all he's got left, turns the iron
bedframe onto its side, flipping the mattress off...
Eddie moves forward, furious...
Welles grabs Machine's knife, wielding it, holding Eddie off.
WELLES
Back off, Eddie...
Welles drags the now lightened bed frame towards the table.
Eddie's sorely tempted, but keeps away.
Eddie turns, looks across the warehouse...
There's his gun, lying there, far away.
Eddie runs for the gun.
Welles pulls himself to the table, reaches for the gun,
knocks the table over. He's got the gun, but...
Bullets hit the floor as the table falls.
Welles struggles to open his gun with his sole free hand,
gets it open, holds it between his knees...
Welles grabs a bullet...
Eddie's running toward his gun, gasping for air...
Machine's on his knees, pulling the scissors out with
trembling hands...
Welles puts the bullet in the gun, flips it shut, rises,
taking aim across the warehouse...
WELLES
Stop Eddie!
Eddie's running...
WELLES
(pulls back the hammer)
I swear to Christ I'll shoot you in
the back... !
Eddie stops, hands up, about ten feet from his gun...
Machine stays on his knees, holding his bleeding stomach.
Welles points his gun at Machine.
WELLES
Come back, or I put a hole in him.
Eddie's looking at his gun, so close, so far away.
WELLES
You might make it to your gun, but
not before I shoot Machine. And if
I have to shoot him because of you,
and I don't kill him, right after he
kills me, he's gonna kill you.
Eddie turns, starts walking back...
WELLES
(to Machine)
Take off the mask.
Machine shakes his head.
WELLES
Take it off!
MACHINE
You got one bullet.
Welles looks to see Eddie heading back, keeps the gun on
Machine, backs away, dragging the bed frame, looks to the
DOOR behind him...
MACHINE
The only choice you have now, is
which one of us kills you.
Welles backs away, drags the bedframe. Eddie's getting
close. Welles points the gun at Eddie. Eddie slows.
Welles points the gun at Machine, points the gun at Eddie.
Welles puts the gun to the chain of his handcuffs, FIRES...
breaks the handcuff chain.
Welles bolts to the door...
MACHINE
Get the gun!
Eddie runs back towards his gun.
Machine rises with a grunt of pain, moves towards the door,
but agony doubles him back over to his knees.
EXT. BROOKLYN WAREHOUSE -- DAY
Welles shoves out into daylight, fleeing down the stairs,
running towards his car...
INT. WELLES' CAR -- CONTINUOUS -- DAY
Welles climbs in, gets out his keys, starts the car...
He pulls away, TIRES SCREECHING. Behind, Eddie gives chase,
running, FIRING his gun...
Welles ducks as BULLETS SLAM the car, SHATTERING WINDOWS.
EXT. BROOKLYN STREETS -- CONTINUOUS -- DAY
Welles' car picks up speed, takes a turn, BURNING RUBBER...
Behind, Eddie curses, runs back to the warehouse.
INT. WELLES' CAR -- CONTINUOUS -- DAY
Welles glances back, ENGINE ROARING. He tries to keep from
crying, steers with one hand, holds his bleeding face.
EXT. BROOKLYN STREETS -- CONTINUOUS -- DAY
Welles' car races away.
INT. WELLES' HOME, KITCHEN -- DAY
Amy looks tired, like she hasn't slept. She feeds Cindy.
PHONE RINGS. Amy goes to answer it...
AMY
(into phone)
Hello?
WELLES (V.O.)
(from phone)
Amy, it's me. Listen very
carefully..
AMY
(into phone)
Tom? Where have you been... ?
INT. WELLES' CAR -- CONTINUOUS -- DAY
Welles drives, face caked in dried blood, cellular phone to
his ear. The HIGHWAY rushes past out the car window.
WELLES
(into phone)
Amy, just listen. Take Cindy and
get out of the house. Do it now.
Go to a hotel and stay there...
AMY (V.O.)
(from phone)
What's wrong? Are you alright?
WELLES
(into phone)
I'm okay. Please, honey, I can't
explain. Don't use the phone, just
pack a bag and get out. I'm on my
way. I'll be back at the house in
three hours. Call me from the hotel
when you get there
AMY (V.O.)
... What's going on?
WELLES
Just do it, Amy, please, go.
INT. WELLES' HOUSE, KITCHEN -- CONTINUOUS -- DAY
Amy hangs up, scared. She goes to grab Cindy up into her
arms, hurrying out of the kitchen and going upstairs.
EXT. HIGHWAY -- CONTINUOUS -- DAY
Welles' car tears down the freeway, passing other cars.
EXT. WELLES' NEIGHBORHOOD -- NIGHT
Suburban streets. Welles' car arrives, parks. Welles gets
out, starts across a neighbor's yard, cuts between houses...
EXT. WELLES' HOUSE, BACKYARD -- NIGHT
Welles enters his backyard, slowing, taking out his gun. He
keeps behind shrubbery, surveying his dark house.
INT. WELLES' HOUSE, DOWNSTAIRS LIVING ROOM -- NIGHT
Welles uses a key to unlock the SLIDING GLASS DOOR, opens it
slow, enters, gun up, searching the darkness.
INT. WELLES' HOUSE, OFFICE -- NIGHT
Welles pushes the door open, checks this room.
INT. WELLES' HOUSE, BEDROOM -- NIGHT
Welles makes sure the bedroom's empty, looks in the
bathroom. He puts his gun away, leaves the lights off.
He goes to the PHONE on the bedside table, unscrews the
earpiece. He removes a small, wire-mesh BUGGING DEVICE.
INT. WELLES' HOUSE, KITCHEN -- NIGHT
Dark. Welles picks up the cordless phone, struggles to pry
the receiver open. He discovers another small BUG.
He drops the BUGS to the floor, crushes them under foot.
He puts the phone back together and is replacing it when it
RINGS LOUDLY. Welles is startled, drops the phone...
Welles takes a breath, trying to shake off the jitters. He
picks up the RINGING PHONE, answers it...
WELLES
(into phone)
Honey... ?
MACHINE (V.O.)
(from phone)
Not quite.
Welles stiffens.
MACHINE (V.O.)
Nothing like getting home after a
rough day. Home sweet home.
Welles moves into the HALL, towards the front door...
MACHINE (V.O.)
Walk away. Pack your bags, put the
wife and kid in the car and find a
place to hide. If you're lucky,
you'll never see me again.
Welles takes out his gun, opens the front door, looking out.
The street in front of the house is empty. CRICKETS CHIRP.
WELLES
I don't know if I can do that.
MACHINE (V.O.)
I know who you are. I know where
you live. I know everything I need
to know to find you.
(pause)
Who am I?
MACHINE is HEARD HANGING UP the phone.
INT. HOTEL ROOM -- NIGHT
Cindy's crying. Amy opens the door with the chain on, sees
Welles, lets him in. Amy and Welles embrace, kissing. Amy
touches Welles damaged face, worried...
AMY
What happened to you?
WELLES
I'm okay, honey, I'm okay. Are you
alright?
AMY
What's going on, Tom? What happened?
WELLES
I can't tell you, Amy. You know I
can't. You have to trust me...
AMY
Tom...
WELLES
It has to be this way for now. It
won't be long.
Welles goes to pick up Cindy, tries to comfort her, kisses
her red face as she keeps crying.
AMY
Why haven't you called? Why don't
you answer your phone?
WELLES
I don't know. I'm sorry...
AMY
You're sorry? What was I supposed
to think?
Amy comes to take Cindy from him.
AMY
You owe me an explanation. You
can't treat me like this.
WELLES
I wanted to call. I couldn't.
AMY
You couldn't?
WELLES
You don't understand...
AMY
No, I don't, because you're not
telling me anything!
WELLES
I was in hell. If I called you...
if I heard your voice... it would
have been so easy for me to quit.
I couldn't do that.
Tears comes to Amy's eyes.
AMY
You should have.
WELLES
Amy, I'm not going to let anything
happen to us.
AMY
Look where we are. Look at
yourself. You son of a bitch,
you don't have any idea what
you're putting me through...
WELLES
I don't know what to say
AMY
You're killing me...
WELLES
Don't...
AMY
What was I supposed to think
happened to you?!
WELLES
Amy...
Welles goes to Amy, but she pulls away. She sits on the
bed. Cindy's still crying. Welles sits beside Amy, puts
her arms around her.
WELLES
Forgive me.
Amy cradles Cindy. Welles rests his head on Amy's shoulder,
places one hand on Cindy.
WELLES
We have to stay here a few days.
I'll get more clothing from the
house if I can. I'm sorry.
(pause)
We're going to be okay.
Welles rises. He goes to the PHONE, starts dialing. Amy
looks at him, wipes tears.
AMY
Who are you calling?
WELLES
Mrs. Christian.
AMY
What?
WELLES
She's all I've got. She's the only
witness.
AMY
Tom... she's dead.
Welles looks to Amy.
AMY
She died in her sleep three days
ago. It was in the paper...
WELLES
I just talked to her.
Cindy's crying. Welles sits into a chair, trying to
understand this, his mind racing. He hangs up the phone.
AMY
How could you not know?
Misery pulls down the corners of Welles' mouth. He tries to
find words, but none come. He sits forward and hides his
face in his hands, overwhelmed. Cindy's crying.
INT. HOTEL ROOM -- LATER NIGHT
Cindy sleeps, encircled by pillows and blankets on the bed.
Amy watches her, runs her hand gently across Cindy's head.
Amy rises, turns out the light, goes to a BALCONY DOOR...
EXT. HOTEL ROOM, BALCONY -- NIGHT
Welles sits with his feet up on the balcony rail, looking
into the parking lot. Amy joins him, sits.
AMY
Promise you'll stay.
Welles looks at Amy.
WELLES
Promise you won't go back there,
wherever you were. Whatever it was,
forget it.
Welles takes a deep breath, nods his head.
AMY
Promise me.
Welles looks out into the night sky of stars.
WELLES
I promise.
Amy comes to kiss Welles. Welles wraps his arms around her
and holds her tight. She holds him.
INT. HOTEL ROOM -- LATER NIGHT
Amy is asleep on the bed beside Cindy. Welles comes out
from the bathroom in a fresh shirt and suit, turns off the
bathroom light. He stands looking at Cindy and Amy.
EXT. HOTEL -- NIGHT
Welles exits the hotel, heading to his Ford.
INT. WELLES' CAR -- NIGHT
Welles drives, staring ahead. Through the windshield, the
headlights illuminate the endless roadway.
EXT. KENNEDY AIRPORT -- NIGHT
Airplanes take flight. Manhattan glitters in the distance.
EXT. WILSHIRE OFFICE BUILDING -- DAY
Eddie Poole's building. A typically bright, sunny LA day.
In the street, Welles parks a rental car, gets out.
INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- DAY
ELEVATOR doors open and Welles gets off. He moves down the
hall, around a corner, heading to "<b>Celebrity Films.</b>"
Welles tries the door knob, finds it locked. He looks
around, takes two steps back, KICKS forward... SMASHES the
translucent glass of the door...
INT. CELEBRITY FILMS OFFICE -- DAY
Welles pushes broken glass out of the way, reaches in to
open the door. The office has been cleaned out, trash on
the floor, desk drawers hanging open and empty, shelves
empty, posters gone...
Welles grabs one of the file cabinets, pulls it open, finds
it empty, pulls it all the way out and throws it.
INT. 8TH FLOOR HALLWAY -- DAY
People peer out from other offices, worried. Welles exits
Eddie's office, ignoring them, goes around the corner,
straight to the STAIRWELL, heading downstairs...
EXT. HOLLYWOOD HILLS -- DAY
Welles rental car parks down the hill. Welles climbs out,
walking up the hill, heading for Eddie's ramshackle HOUSE.
EXT. EDDIE'S HOUSE, GARAGE -- DAY
Under the stilts of the porch, Welles passes Eddie's car,
looks in to see it loaded with BOXES and belongings.
Welles moves on to a door at the back of the garage. He
takes out LOCK-PICKING TOOLS.
INT. EDDIE'S HOUSE, STAIRWAY -- DAY
Welles enters slow, pockets the tools, takes out his gun.
FOLLOW him up the stairs, into a hallway, past a LAUNDRY
ROOM with washer and dryer, into a LIVING ROOM...
Welles sweeps the room with his gun, wired. Eddie's house
is predictably a trash heap, strewn with VIDEOS, MAGAZINES,
dirty DISHES and fast food remnants. Welles moves on...
INT. EDDIE'S BEDROOM -- DAY
Eddie's throwing clothing into a suitcase, hurried. Welles
comes into the doorway, taking aim, edging forward.
WELLES
Hello, Eddie.
Eddie spins, startled.
WELLES
Put your hands on your head.
Eddie looks out of the corner of his eye... to his GUN.
WELLES
Put your hands behind your head,
lock your finger together, get down
on your knees.
Eddie does as commanded, gets to his knees. Welles moves
towards him, very nervous, white-knuckling the gun.
He KICKS Eddie in the stomach, doubles him over.
WELLES
I owe you a few.
Welles KICKS again.
INT. EDDIE'S KITCHEN -- DAY
Welles enters the filthy kitchen, carrying Eddie's gun. At
the sink, Welles pops the gun's clip. He pushes the bullets
out into his palm, one by one.
He dumps the bullets into the GARBAGE DISPOSAL, drops the
clip in, turns it on. The DISPOSAL makes a terrible
GRINDING NOISE, straining, till it finally goes dead.
INT. EDDIE'S LIVING ROOM -- DAY
Welles goes to the picture window and closes the curtains.
He turns on a lamp, goes back towards the bedroom. After a
moment, he returns, dragging Eddie on the floor...
Eddie's bleeding out his nose, hands DUCT-TAPED together
behind his back, legs bound at the ankle, dragged by a belt
around his neck, choking...
Welles drops the belt, undoes it from Eddie's neck. Eddie
gasps for air. Welles pulls him up, puts him on the couch.
WELLES
Don't go anywhere.
Welles heads for the stairs...
EXT. EDDIE'S GARAGE -- DAY
Welles goes to Eddie car, tries the door, it's unlocked...
IN THE CAR
Welles takes the thick THOMAS GUIDE map book off the dash.
INT. EDDIE'S LIVING ROOM -- DAY
Welles returns. Eddie's on the floor, wriggling. Welles
drops the Thomas Guide on the coffee table, picks Eddie up,
throws him back onto the couch.
EDDIE
I'm gonna kill you.
WELLES
Don't bore me with that bullshit.
EDDIE
How'd you find me here?
Welles PUNCHES Eddie in the ear.
WELLES
Don't ask questions.
EDDIE
Fuck you!
Welles PUNCHES Eddie in the same ear. Eddie's hurting.
Welles rubs his aching knuckles.
WELLES
Starting to recognize a pattern?
EDDIE
What do you want?
WELLES
Who is Machine?
EDDIE
I don't know...
WELLES
I want his name.
EDDIE
I told you, I don't know.
WELLES
I will never get tired of hurting
you, Eddie, so you might want to
change your attitude.
EDDIE
What the fuck am I gonna protect
that freak for? He was Dino's boy,
not mine. He shows up with his mask
on, leaves with his mask on. Nobody
knows.
Welles kicks junk off a chair, sits, takes out his gun.
WELLES
Okay, we'll come back to that. So,
six years ago a guy contacts you,
through the classifieds, over the
phone, however he does it. It's
Longdale, looking for a snuff film.
And you, entrepreneur that you are,
tell him you can hook him up.
EDDIE
Yeah, the fucking lawyer.
WELLES
Told him you could get him a snuff
film.
EDDIE
Yeah.
WELLES
How much did he pay you?
EDDIE
Thirty thousand each, that fucking
cocksucker.
WELLES
That's all? Thirty each. That's
all it took for you to murder her?
EDDIE
It was a lot of fucking money.
Welles stands and paces, despairing. He picks up a LAMP and
throws it, SHATTERS a MIRROR, keeps pacing...
WELLES
So... you brought Dino in, and he
brought Machine. And, one day, a
girl walked into your office because
you had an ad in the paper for
models. And she never walked out.
EDDIE
Something like that.
WELLES
What did you do, knock her out,
shoot her up... ?
EDDIE
What the fuck do you want from me?
WELLES
I want to know. I want to know
exactly what you did to her!
EDDIE
Fuck you then, you want to know? I
talked her up, told her how
beautiful she was, told her she was
gonna be a star. I told her I was
gonna get her a screen test, and
while I'm doing that, I got her a
soda and dropped a mickey. When it
was dark enough, I rang Dino and
told him it was go time, I put her
in the trunk of my car and we went
and we fucking did it. That's what
happened. She's dead. She's been
dead a long fucking time. Nobody
fucking cares!
Welles puts down his gun, picks up the Thomas Guide, holding
it in both hands, SWINGS -- SLAMS Eddie across the face...
Eddie's stunned, lips bleeding. He faces forward.
EDDIE
You wanted to know, now you know.
Welles SWINGS the Thomas Guide -- POUNDS Eddie's face again.
Welles drops the Thomas Guide in a chair, picks up his gun,
leaves the room...
INT. EDDIE'S KITCHEN -- DAY
Welles enters, starts looking through DRAWERS, searching.
He finds SILVERWARE, selects a serrated STEAK KNIFE...
INT. EDDIE'S LIVING ROOM -- DAY
Welles returns, goes to grasp Eddie by the shirt collar,
drags him to the floor, face down. Welles stands on Eddie's
neck, uses the knife to cut the duct tape on Eddie's hands.
EDDIE
That's right, motherfucker, cut me
loose. Be a man.
Welles tosses the knife, gun trained on Eddie, picks up the
Thomas Guide and throws it at Eddie...
WELLES
Show me!
Eddie, hands now free, pushes himself to a seated position,
looks at the Thomas Guide.
WELLES
Show me where you did it, on the
map, exactly where you did it.
EDDIE
Why?
WELLES
Because we're going there.
EXT. 134 FREEWAY -- DAY
Welles' rental car SPEEDS down the highway, east towards
Pasadena, leaving the City of Los Angeles on the horizon.
EXT. MOUNTAIN HIGHWAY -- DAY
Welles' car travels a winding HIGHWAY that serpentines up
into the scenic, forested SAN BERNADINO MOUNTAINS.
EXT. BIG BEAR -- DUSK
The sun is low. Big Bear Lake is vast, surrounded by
wilderness on all sides. Welles' car follows a TWO-LANE
ROADWAY that runs along the lake's southern shore.
Welles' car passes sporadic SUMMER HOMES and CABINS.
EXT. DESERTED ROADWAY -- NIGHT
Heavy forests border close to the road. Welles' car travels
alone, headlights on, slowing as it comes to an overgrown
gravel DRIVEWAY with a rusty CHAIN strung across it.
IN THE CAR
Welles leans forward to look up at an old SIGN of broken
neon and peeled paint: "<b>Big Bear Motor Lodge.</b>"
Welles pulls forward, puts the car in reverse...
ON THE ROADWAY
Welles' car backs up, angling, till the rear bumper comes
against the chain, BACKING... till the CHAIN SNAPS.
Welles' car pulls forward across the empty roadway, turns
around... accelerates down the overgrown driveway...
EXT. BIG BEAR MOTOR LODGE -- NIGHT
Welles' car comes down the driveway, into a small LOT.
IN THE CAR
THROUGH THE WINDSHIELD: headlights reveal what's left of the
abandoned MOTOR LODGE, a REGISTRATION OFFICE at the center
with attached wings of rooms on both sides.
The LEFT WING of rooms is a fire ravaged, burnt-out
skeleton. What remains of the OFFICE and RIGHT WING is
boarded over, falling apart. No window has gone unbroken.
IN THE LOT
Welles turns out headlights and parks.
He gets out, walks to look up the driveway. A CAR is HEARD.
HEADLIGHTS can be seen a good distance away through the
forest as the CAR PASSES.
Welles goes to his car, unlocks the trunk and opens it.
Eddie's lying in there, arms and legs bound, gagged.
INT. MOTOR LODGE ROOM -- NIGHT
The door is shoved inward, hanging crooked by one hinge.
Eddie enters first, hands still bound behind him. Welles
pushes Eddie forward, gun out.
Welles turns on his penlight FLASHLIGHT, shining it into the
room. There dead leaves all over the floor. The room's
empty except for a CHAIR lying on its side.
Welles sweeps the room with the inadequate light. This is
where Mary Anne Mathews died, vaguely recognizable from the
snuff film, without the furniture.
EDDIE
What are we doing here?
Welles goes to the bathroom door, keeping the gun trained on
Eddie, pushes the bathroom door open with his foot...
The bathroom's cracked MIRROR reflects the penlight and
Welles' palely lit face.
WELLES
That night... you didn't have to be
in the room, but you were.
(looks to Eddie)
Why? Why did you watch?
Eddie goes to the chair, tips it upright with his foot, sits.
EDDIE
I don't know. I felt like it. I
never saw anyone get done before.
WELLES
You enjoy it?
EDDIE
Made me sick, but what did I care?
What did I care if some hump wants
to beat off to that. It was just
something I was doing for money.
WELLES
Tell me what happened.
EDDIE
What do you want to know? You saw
it, you saw the loop...
WELLES
Nobody saw you bring her in?
EDDIE
There wasn't nobody around. This
place was a shit-hole. I backed up
the car to the door and we carried
her in, like groceries. Dino made
her eat a bunch of pills, we laid
out the plastic, put film in the
camera and Machine went to work.
WELLES
What did you do with her body?
EDDIE
Took it out the bathroom window.
Buried it in the woods.
WELLES
Show me.
EXT. BIG BEAR MOTOR LODGE -- NIGHT
Eddie and Welles come around the corner of the abandoned
motel, Eddie leading the way, Welles following with gun and
flashlight, into the dense forest...
EDDIE
What are you thinking you're gonna
do... ?
Welles shoves Eddie ahead.
WELLES
Keep moving.
EDDIE
Where do you think you're taking
this, huh? Gonna be a big hero,
avenge that little girl's death?
Gonna make everything right with the
world? How you gonna do that... ?
FURTHER ON
Welles and Eddie come over a hill, deeper into the forest...
EDDIE
You can't go to the cops. All you
can do is cut me loose and walk
away, because you got nothing...
WELLES
Stop talking.
EDDIE
You got absolute zero.
WELLES
Show me where you buried her.
EDDIE
I don't know...
(nods to forest)
... out there somewhere.
WELLES
Where? Show me where.
EDDIE
I fucking don't know. What do you
think... we weren't burying
treasure. We didn't pace it out so
we could come back and get it. We
dug a hole and we put her in it.
Your guess is as good as mine.
Welles walks ahead of Eddie, distraught, shining his
flashlight ahead across the indecipherable forest floor.
EDDIE
You'll never find her. Nobody ever
will, and even if they did, it
doesn't mean nothing. Bring in the
cops, bring in the F.B.I., fuck 'em
all. Without the film, it never
happened. Don't you get it? It's
over. You can't do anything.
Welles turns, aims his gun at Eddie, furious.
WELLES
I can kill you. I can leave you out
here, just like you left her.
Eddie's not backing down.
EDDIE
Do it.
WELLES
Don't think I won't.
EDDIE
Do it! Put me out of my misery so
I don't have to listen to you
whining anymore. You think it's so
easy?
WELLES
Easy enough for you.
EDDIE
I never killed anyone.
WELLES
That's right, you just stood there
and watched, because you "felt like
it." Almost makes you worse.
EDDIE
What do you want? You want me to
fall to my knees and start crying
like a baby... ?
Eddie walks towards Welles. Welles backs away...
EDDIE
Where you going? You're the one
with the gun. Aren't I defenseless
enough? Come on...
Eddie comes ahead, defiant, the gun inches from his face.
EDDIE
Go ahead and kill me. Kill me with
that gun, your gun, right,
registered in your name? Dig the
hole yourself, with your bare hands,
bury the body with your bullets in
it. Fucking do it!
Welles step forward, presses the gun against Eddie's
forehead, pulls back the hammer...
Eddie just stares back at Welles with hatred in his eyes.
Welles is terrified, unsure... trying to muster the courage
to do it... gun hand trembling... finger on the trigger...
INT. MOTOR LODGE ROOM -- NIGHT
Eddie's thrown face down to the floor. Welles comes to sit
on Eddie's back, facing Eddie's feet, holsters his gun,
takes out duct tape and grabs Eddie's feet, wrapping them...
EDDIE
You pussy.
Welles keeps going around Eddie's ankles with the duct tape,
till Eddie's securely bound.
He rips the tape roll free and gets up, walking out...
EDDIE
Fucking pussy!
EXT. MOTOR LODGE -- NIGHT
Welles pulls the door closed behind him, walks to his car.
IN THE CAR
Welles opens the passenger door and sits, shaken, at his
wit's end. He opens the glove compartment, finds
cigarettes, digs one out and lights it.
He looks back to the motel room.
He looks down to the glove compartment, at his CELLULAR
PHONE. After a moment, Welles picks up the phone, looks at
it in his hand.
IN THE LOT
Welles gets out of the car, gets up on the hood, lays back,
staring at the sky. He closes his eyes, smokes.
Welles opens the phone, looks at the illuminated numbers.
He digs in his suit jacket pocket, takes out his notepad,
pages through, studies one page.
Welles sits up. He gathers himself, throws his cigarette,
dials a number, puts the cellular to his ear, afraid...
MRS MATHEWS (V.O.)
(from phone)
Hello... ?
WELLES
(into phone)
Mrs. Mathews? It's Thomas. Do you
remember, I was there a few weeks
ago... asking about your daughter...
MRS MATHEWS (V.O.)
(from phone)
I remember. You just left...
WELLES
(into phone)
I have to tell you something. It
won't be easy for you to hear. It's
about your daughter... Mary Anne...
(struggling)
When I... when I was there with you,
her diary, in your attic, in
silverware. If you read it, you'll
know what I'm telling you is true...
Welles climbs off the car, paces, aching with misery...
MRS MATHEWS (V.O.)
What are you talking about... ?
WELLES
She went to California, to Los
Angeles... she wanted to start over.
She wanted to be an actress...
MRS MATHEWS (V.O.)
What... ?
Tears comes to Welles' eyes. It's the hardest thing he's
ever had to do in his entire life.
WELLES
Mrs. Mathews, your daughter is dead.
She's dead.
MRS MATHEWS
Who is this... ?
WELLES
Someone... some men, they took your
daughter and they drugged her, and
they took her to a motel room...
they did terrible things to her...
MRS MATHEWS (V.O.)
Who are you?
WELLES
They brought her into the room...
one man, he put a knife to her
throat and he raped her...
MRS MATHEWS
No...
WELLES
He raped her and...and...and he
murdered her...he cut her up with
knifes...
MRS MATHEWS (V.O.)
No... no... no...
WELLES
They killed her, and they took her
out in the forest somewhere and they
buried her...
MRS MATHEWS (V.O.)
Why... why are you doing this to
me... ?
WELLES
They murdered her, Mrs. Mathews, I'm
sorry. It happened a month after
she ran away. She's been dead all
this time...
MRS MATHEWS is HEARD SCREAMING, letting out a CHOCKING SOB.
Welles falls back against the car, holds his head, weeping...
WELLES
I'm sorry, I'm so sorry... there
wasn't anything anyone could do...
Welles pushes disconnect, lowers the phone, drops it to the
ground, utterly drained. He puts his forearm over his eyes,
gasping, sucking air...
He looks to the motel room, tamping down his sorrow, willing
it to fuel his rage...
He takes out his gun, hands unsteady, determined, opens the
gun and pours the bullets out. He closes the gun and walks
towards the motel room...
INT. MOTOR LODGE ROOM -- CONTINUOUS
Welles SHOVES the door aside. The door's hinge breaks and
the door falls...
Eddie sits propped up against one wall, turns to look...
The door SLAMS to the floor.
Welles moves forward, enraged, closing on Eddie, raising his
arm with the gun grasped by the butt...
Eddie's eyes go wide with fear...
Welles SWINGS the gun down at Eddie's head...
EXT. MOTOR LODGE -- NIGHT -- CONTINUOUS
The only SOUNDS come from the NIGHT FOREST. CRICKETS and
distant BIRDS. We can't see anything but the TOTAL DARKNESS
through the open door of the room. A CAR is HEARD, getting
LOUDER as it passes, FAINTER as it gets further away.
Finally, Welles comes to the doorway, in shock, steadying
himself against the door frame, shirt and suit spattered
red. His gun hand and gun are soaked with dripping blood.
Welles looks back into the room, backing away. He turns and
goes to his car...
IN THE CAR
Welles climbs in the driver's side, shoves his bloody gun
into his holster, tries to wipe blood from his hand onto his
shirt, revolted. He starts the car.
INT. EDDIE'S HOUSE, LIVING ROOM -- NIGHT
Welles enters and crosses through...
INT. EDDIE'S KITCHEN -- NIGHT
Welles goes to the kitchen sink, turns on the water, starts
scrubbing his bloody hands, using dishwashing liquid,
scrubbing his hands desperately under running water.
EXT. EDDIE'S GARAGE -- NIGHT
Welles comes out of the house, goes to open the rear door of
Eddie's car, looking through BOXES of Eddie's belongings...
INT. EDDIE'S LIVING ROOM -- NIGHT
Welles comes up the stairs with a BOX, dumps the contents
onto the living room floor: it's CHILD PORNOGRAPHY, Eddie's
collection from the office, HUNDREDS of PHOTOS...
INT. EDDIE'S KITCHEN -- NIGHT
Welles pulls open Eddie's cabinets, searching. He finds
POTS and PANS, choosing a few of the largest...
EXT. EDDIE'S GARAGE -- NIGHT
Welles uses a cut piece of GARDEN HOSE, siphoning GAS out
from Eddie's car, filling several kitchen POTS...
INT. EDDIE'S LIVING ROOM -- NIGHT
Welles comes up the stairs, carries POTS of gasoline, dumps
the gasoline onto the pile of PHOTOGRAPHS...
INT. EDDIE'S BEDROOM -- NIGHT
Welles dumps gasoline over Eddie's bed...
INT. LIVING ROOM -- NIGHT
Welles stands at the pile of gasoline soaked photos, taking
out a MATCHBOOK, lighting one, lighting the whole book...
EXT. EDDIE'S HOUSE -- NIGHT
Welles walks down the dark hill, heading to his car. He
gets in, starts the car and drives downhill, leaving the
headlights off. BEHIND, the windows of Eddie's ramshackle
HOUSE grow bright as FIRE SPREADS and CURTAINS BURN.
INT. LOS ANGELES AIRPORT -- NIGHT
Welles stares ahead, in fresh shirt and suit, waiting at a
CHECK-IN COUNTER.
The female AIRLINE AGENT behind the counter types in her
COMPUTER, stamps his ticket.
Welles shifts his gaze, something catches his eye...
Beside a stapler on the counter, a PAIR of SCISSORS.
AGENT
There you are, Mr. Welles, confirmed
through to Kennedy. Gate 32B.
Welles stares, fixated on the SCISSORS.
AGENT
Mr. Welles?
Welles looks to the agent holding up the ticket.
AGENT
Gate 32B.
Welles accepts the ticket.
EXT. MANHATTAN MOTEL -- NIGHT
The Empire State Building in the distance says NYC, and a
CAMERA PAN DOWN says another seedy MOTEL...
INT. MOTEL ROOM -- NIGHT
Welles sits at a small desk, looking through a PHONE BOOK,
white pages, finds... "<b>HOSPITALS.</b>"
Welles picks up the PHONE, chooses a number, dials it...
WELLES
(into phone)
Hello, can you connect me with the
duty nurse?
(waits)
Hello, this is Lieutenant Anderson
down here in the Thirteenth
Precinct. I've got a helluva
problem I was hoping you could give
me a hand with. We had a stabbing
incident a couple of days ago, and
it looks like the supposed victim
gave us a false name and address.
Can you tell me if you had an adult
male with an abdominal wound in you
ER in the last forty-eight hours?
(listens)
You'd remember this guy; a body-
builder, real big guy, five foot
eleven, with acne all over his chest
and back...
(listens)
Alright, thanks for your help.
Welles hangs up, uses a pen to cross out a number in the
phone book, starts dialing the next number.
DISSOLVE TO:
INT. MOTEL ROOM -- LATER NIGHT
Welles lies on the bed, on the phone, rubbing his eyes.
WELLES
(into phone)
... guy sticks out like a sore
thumb. Five foot ten or eleven,
body-builder, bad acne...
(listen)
Okay, thanks anyway.
Welles gets up, hangs up, brings the phone back to the desk.
DISSOLVE TO:
INT. MOTEL ROOM -- MORNING
The PHONE BOOK'S open on the desk with nearly a hundred
hospital phone numbers crossed out.
WELLES (O.S.)
... abdominal wound. You'd know him
if you saw him...
Light cuts into the room from between the curtains. Welles
paces, carrying the phone with him, weary.
WELLES
(into phone)
He's a body-builder, stands just
under six feet...
Welles stops in his track, listening, suddenly attentive.
WELLES
(into phone)
That's right... covered in acne.
That's him, that's the guy. Listen,
we, uh... we think he filed a bogus
report on this stabbing, gave us a
false name and address...
(listens)
Yes, I'll hold.
Welles goes to the desk, takes out his notepad. He starts
feeling his pockets for his pen, can't find it, telephone
book, searching, looks under the desk...
Welles ducks under the desk to grab the pen off the floor.
WELLES
(into phone)
Yes... yes.
(sits, writing in pad)
Christopher Higgins. Thirty-
fifteen, Thirty Fifth Street.
Where? Astoria, Queens.
Welles is scribbling all this down in his notepad.
EXT. QUEENS STREET -- DAY
A relatively quiet residential street. HOMES are small, two
story affairs, close together, each very much like its
neighbor, some with tiny yards fenced in by brick walls.
Welles' Ford comes slowly down the street. CHILDREN in
school uniforms are heading off for the day in groups.
Welles parallel parks.
IN THE CAR
Welles turns off the engine.
He's watching a HOUSE on the other side of the street. The
house is brick on the bottom, aluminum siding on top,
quaint, with brick staircase from the front door down to a
GARAGE underneath, plastic PINK FLAMINGOS on the small lawn.
Cars pass in the street. Welles watches school children
pass on the near sidewalk. He slumps down a little in his
seat, adjusting the rearview mirror, adjusting his side
mirror, rolling up the window.
Welles takes a cautionary look around, takes out his gun,
pours bullets out and pockets them. He picks up a PAPER BAG
off the passenger seat and opens it.
He takes out a long, thin metal FILE, pulling off the shrink
wrap packaging, feels the file with his thumb.
Keeping his open gun low under the steering wheel, Welles
slides the file into the barrel, scraping gently all along
the gun's inner barrel.
DISSOLVE TO:
INT. WELLES' CAR -- LATER DAY
Welles sits smoking a cigarette, watching the quaint house.
He looks in his side mirror...
There's a large CAR coming down the block with its turn
signal on. Welles slumps a little lower.
The car passes, slowing. The GARAGE DOOR of the quaint
house begins to open.
Welles watches...
Can't really see the driver of the car except for the back
of his head, but he's huge. It's a good bet it's Machine.
Beside him in the passenger seat is a GREY HAIRED OLD WOMAN.
The car pulls into the darkness of the quaint house's
garage. After a moment, the OLD WOMAN comes from the
garage, walks with a cane, wears glasses. She goes to the
sidewalk, checks her MAILBOX, finds it empty.
Welles watches.
The old woman goes back to the garage. She goes inside.
The garage door closes behind her.
DISSOLVE TO:
INT. WELLES' CAR -- NIGHT
Welles still watches the house. There's a light on in one
of the second floor windows, curtains closed.
Welles yawns, shaking his head, trying to stay awake.
At the quaint house, a light comes on in the front picture
window. Looks like a living room or dining room. The old
woman comes to sit at a table.
Welles takes binoculars off the front seat...
THROUGH BINOCULARS
The old woman says something to someone we cannot see.
She's at the dinner table, with a place setting in front of
her. After a moment, someone joins her...
It's Machine, you can tell by his bulk, by his huge
forearms. The lacy curtains of the window block part of our
view, so we never see his face.
IN THE CAR
Welles lowers the binoculars, still watching.
Through the window across the street, Machine can be seen
putting a plate of food in front of the old woman. The old
woman smiles up at him, says something.
Machine goes to light two candles on the table with matches,
then goes back to stand beside the old woman.
Machine is seen from behind, bends to give the old woman a
kiss on the cheek, then leaves the room. The old woman
starts to eat.
DISSOLVE TO:
INT. WELLES' CAR -- DAY
Dawn light is just breaking. Welles has fallen asleep,
slumped low behind the wheel, snoring lightly.
Welles awakens with a start, looking around, confused. He
calms, rubbing his eyes, wiping sweat from his features.
ACROSS THE STREET
The quaint house's garage door begins to rise.
IN THE CAR
Welles sees this, keeps low, watching...
The big car backs out into the street. The old woman's
behind the wheel, wearing a hat, driving away, alone.
Welles watches the car head away in the rear view mirror.
ON THE STREET
Welles gets out of his car, shuts the door quietly behind
him. He starts walking towards the quaint house, looks all
directions, making sure no one's around.
Ahead, the garage door begins to close.
Welles picks up the pace, trying not to look too
conspicuous. The garage door's halfway down...
Welles runs towards the garage, has to dive and roll to get
there, but he makes it under the door just as it closes.
ABOVE
In ONE WINDOW of the quaint house, an eyeball is peering out
from lacy curtains, then moves away and curtains fall shut.
INT. QUAINT HOUSE, GARAGE -- DAY
Welles gets up, takes out his gun, brushing off.
The garage is dark, full of BOXES and JUNK. Welles moves
towards the door to the house.
INT. QUAINT HOUSE, BEDROOM -- DAY
Machine, in T-shirt and jeans, <u>seen only from behind</u>, comes
to a DRESSER and opens a bottom drawer. His huge hands push
clothing aside, digging deep to the bottom of the drawer,
taking out the WRESTLING MASK.
Machine stands straight, pulling the mask down over his head.
INT. BASEMENT -- DAY
Welles enters from the garage, gun up. The dank basement is
small. A PILE of LAUNDRY lies on the floor near a WASHING
MACHINE.
SHEETS hang off several CLOTHES LINES strung across two
metal poles. Welles leads with his gun...
He moves around the sheets, looking behind them. There's a
WOODEN STAIRCASE leading upstairs. Welles starts up,
treading lightly, trying not to make a sound...
INT. KITCHEN -- DAY
Welles slowly opens the door to the kitchen, pointing his
gun. No one here. The decor is feminine, neat and tidy.
It's grandma's house, and it shows, with gaudy PRINT
WALLPAPER everywhere, every shelf displaying HUMMEL
FIGURINES or COLLECTORS PLATES. Very Home Shopping Network.
INT. DINING ROOM/LIVING ROOM -- DAY
Welles slowly opens the swinging door, entering from the
kitchen, sweeping the room with his gun. No sign of
Machine. The whole house is dead quiet.
He passes the dining room TABLE where he watched the old
woman eat last night... passes fake PAINTINGS on the walls,
of waterfalls and sunset mountain landscapes... moves into
the living room area...
Yellow shag CARPET. A pink SOFA is covered in clear
plastic, facing an old TELEVISION in faux-wooden cabinet.
Welles heads for a staircase leading to the second floor.
Welles creeps up the stairs...
INT. SECOND FLOOR HALLWAY -- DAY
Welles comes up from the stairs, arrives at a closed DOOR.
He opens the door. It's a linen closet, with TOWELS and
SHEETS on shelves, and a shelf of MEDICINE.
Welles shuts the door and moves on. There are TWO DOORS
ahead, both closed. Welles takes the one to the right...
INT. MACHINE'S BEDROOM -- DAY
Welles pushes the door in, enters warily. There's a
constant SCRATCHING HEARD. The room is like a child's,
except the BED is huge. Shelves are full of BOARDGAMES and
COMIC BOOKS. A DANZIG POSTER on the wall. There's a RECORD
PLAYER with LP RECORDS beside it. A record turns on the
turntable, the needle caught at the center, SCRATCHING...
Welles eases his way over to the closet... reaching...
Pulls it open, steps back, gun up. Nothing. Just clothing.
INT. SECOND FLOOR HALLWAY -- DAY
Welles crosses, opens the door across the hall, enters...
DOWN THE HALL, very slowly, Machine's head rises on the
stairs, in the garish wrestling mask, peering.
INT. GRANDMA'S ROOM -- DAY
Welles stays near the door, looks around. There's a fuzzy
sky-blue COMFORTER on the bed, fuzzy blue SLIPPERS nearby.
Lots of bottles of MEDICINE on the bedside table.
Welles lowers his gun, takes a step back, into the hall...
INT. SECOND FLOOR HALLWAY -- DAY
Welles turns...
Machine charges down the hall, screaming with rage, BOWIE
KNIFE raised to kill...
Welles brings his gun up, but Machine's upon him, stabbing...
Welles catches Machine's hand, stops the knife. Machine
grips Welles' gun hand, shoving him back...
Welles is SLAMMED against the wall, grappling, gun hand
pinned. Welles GUN GOES OFF, once... twice...
BLOWING HOLES in the ceiling. Machine's grunts, pushing the
knife forward... closer to Welles, face... closer...
Welles struggles, overpowered. The tip of the horrible
knife is inches away...
Welles bends his knees, crouching, trying to gain distance
from the blade...
Machine pulls Welles gun hand lower, brings it against the
swinging LAUNDRY CHUTE DOOR built into the wall, begins
twisting Welles' hand back, trying to pry the gun loose...
Welles looks out the corner of his eyes to his gun...
Welles turns his gun hand, slowing struggling to aim the gun
towards the knife, but it's awful close to his face...
The knife's shaking, less than an inch from Welles' cheek...
Welles shuts his eyes and turns his head, letting out a CRY,
FIRES his gun...
The bullet BLASTS Machine's knife, knocks it away!
Machine recoils for a millisecond, but brings his now free
hand to Welles' throat, choking him. Welles' face reddens,
bleeding from bullet fragments...
Welles tries to pry Machine's fingers from his throat.
Machine works on Welles' gun hand with violent, renewed
effort -- SLAMS Welles' hand against the laundry chute...
SLAMS it... SLAMS it... till Welles DROPS the GUN...
The gun can be HEARD CLATTERING down the chute.
Machine brings his hand to join the other around Welles'
throat. Welles can't break the grip...
Welles PUNCHES Machine's face, till blood runs out from the
mask's nose hole, but it's having no effect...
Welles brings his KNEE UP HARD -- into Machine's stomach!
Machine falls to his knees with a ROAR, holds his already
wounded stomach, bleeding through his shirt...
Welles falls, clutching his throat, gasping. He struggles
to his feet, leaps past, headlong towards the stairs...
Machine rises, charging after...
ON THE STAIRCASE
Welles is TACKLED from behind...
Welles and Machine TUMBLE down the stairs, SMASHING the
wooden railing, toppling a BOOKSHELF... LANDING HARD...
Welles PUNCHES and KICKS, breaking free, running across the
living room. Machine rises to give chase...
Welles grabs a dining room CHAIR and THROWS it...
Machine knocks the chair aside, keeps coming. Welles grips
another chair, uses it to hold Machine off...
Machine grips the chair by the legs. Welles SHOVES forward,
pushes Machine back, letting go...
Welles dives under the dining table, crawling on his hands
and knees, scrambling...
Machine throws the chair, runs, leaps...
Machine lands on the table, crawls to the far edge, GRABBING
down with his meaty fists as Welles moves forward...
Under the table, Welles jerks back, avoiding, then rises,
extending his knees, PUSHING upwards from underneath...
Welles FLIPS the table, throwing Machine to the floor...
Welles charges towards the kitchen door, falls, gets up...
Machine gets to his feet...
IN THE KITCHEN
Welles SHOVES through the swinging door...
Machine BURSTS through, catching Welles, TACKLING him...
Welles hits the floor with Machine on top. Machine begins
to rein PUNCHES down on Welles, head and back...
Welles tries to cover up, taking a real beating...
Machine rises, gripping Welles, LIFTING him, THROWS him...
Welles SMASHES into shelves of knick-knacks over the kitchen
sink, SHATTERING a WINDOW, landing on the sink and counter.
Machine comes to grip Welles again, drags him across the
counter, KNOCKING EVERYTHING to the floor...
Machine SWINGS Welles, releases him...
Welles SLAMS the refrigerator and slumps to the ground,
tries to stay conscious, trying weakly to get back up...
Machine comes to Welles, gets on his knees...
Machine wraps his arm around Welles' neck from behind, gets
him in a CHOKE HOLD, tightens his grip, cutting off Welles
airway with his forearm...
Welles tries to break Machine's impossible grip with one
hand, begins searching the floor with his other hand...
frantically feeling for anything he can use...
Welles' face is blood red...
Welles' hand grasps desperately... finds a FORK, grips it...
Welles SWINGS the fork back, STABS it into Machine's thigh!
Machine SCREAMS, releases Welles and falls back, reaching
around to the fork...
Welles gets to his knees, sucking air, turns to look...
Machine crawls away, pulls the fork out with trembling
fingers. Beyond him, there's the BASEMENT DOOR.
Welles gets to his feet, looking...
He grabs a FRYING PAN off the counter, gripping it in both
hands and moving towards Machine...
Machine's getting up...
Welles BASHES Machine in the face with an upward swing of
the frying pan...
Machine is sent backpedaling, CRASHING into the oven!
Welles drops the pan, leaps over Machine, to the door...
IN THE BASEMENT
Welles comes down the stairs, falls when he gets to the
bottom, barely has any strength left. He looks all
directions, sees the LAUNDRY CHUTE in the ceiling...
Welles gets up, stumbling, falls to his knees at the PILE of
dirty LAUNDRY, starts digging through it, searching
desperately, throwing clothing aside...
Behind, Machine comes down the stairs, a bloody mess...
Welles searches the laundry pile...
Machine reaches the bottom of the stairs, heading for
Welles. Welles turns, has the GUN in hand, FIRES TWICE...
HITTING Machine in the shoulder and stomach, knocking
Machine a few steps backwards...
Welles FIRES...
Machine's HIT in the CHEST, falling back, into hanging
laundry, pulling down the clothes line and sheets...
Machine hits the ground, wrapped in sheets.
Welles stands, still aiming the gun, pulls the trigger on an
empty chamber. Out of bullets.
Machine's trying to pull free from the sheets, trying to get
back up to his feet. Welles lets out a sob, drops the gun,
walking to Machine...
Welles climbs onto Machine from behind, takes clothing line
in hand, starts wrapping the cord around Machine's throat...
Welles pulls back on the clothes line, pulling it tight...
Machine tries to get his fingers around the cord. Welles
stands, pulling tighter, putting a foot on Machine's back,
pulling the clothes line with all his might...
The cord's cutting into Welles' hand, drawing blood.
Machine, face down, lets out a gurgling sound, struggling,
struggling... till he finally stops moving.
Welles releases the cord, takes a step back, breathing hard,
trembling. He looks around the basement.
Welles walks to pick up his gun, replaces the gun in his
holster. He stands looking at Machine.
Welles walks to Machine, bends, grasps Machine wrestling
mask, pulling it off. He rolls Machine over...
Welles stares down at Machine. <u>We never see Machine's face</u>.
INT. KITCHEN -- DAY
Welles comes up from the basement, slow, hurting. He looks
around at the damage done, looks down to see he's still
holding Machine's mask. He drops it.
EXT. QUAINT HOUSE -- DAY
Welles crosses the street, going to his car. He gets into
his car, starts it, pulls out and drives away.
EXT. WELLES' HOUSE -- DAY
BIRDS SING. KIDS are kicking around a soccer ball down the
street. Welles' Ford arrives, pulls into the driveway.
INT. WELLES' HOUSE, FRONT HALLWAY -- DAY
Welles comes in the front door, still a horrible mess.
WELLES
Hello?! Amy?
He waits. The house is quiet. No one home.
EXT. WELLES' HOUSE -- LATER DAY
Dusk. A CAR comes down the street, slows...
IN THE CAR
Amy sits forward, seeing Welles' car in the driveway.
Cindy's in a child safety seat in back.
INT. WELLES' HOUSE, FRONT HALLWAY -- DAY
Amy comes in the front door, carrying Amy.
AMY
Tom?!
No answer.
INT. WELLES' HOUSE, BEDROOM -- DAY
Any pushes the bedroom door open and looks in. Welles is
asleep on the bed, still in his clothing and shoes. Amy
watches him sleep, sad.
Amy backs out of the room, pulls the door shut.
INT. WELLES' HOUSE, BEDROOM -- NIGHT
Dark. Welles sleeps, still in bloody clothing. He's
restless, shifting, MUTTERING under his breath. Bad dreams.
Welles suddenly sits bolt upright in the bed, looking around
the dark room, breathing hard.
INT. WELLES' HOUSE, KITCHEN -- NIGHT
Cindy's in her high-chair by the table. Amy's at the
KITCHEN SINK, washing vegetables, peeling potatoes.
Welles comes to stand in the doorway behind her. Amy turns
to look at him. It breaks her heart to see him so wounded,
but she forces herself to continue working in the sink.
AMY
How much forgiveness do you think I
have in me?
Welles comes into the kitchen, stands beside Cindy, puts his
hand out and clasp's Cindy's tiny hand.
WELLES
I can't talk about it yet... not
yet.
Amy keeps peeling potatoes, refuses to look at him. Welles
looks down at Cindy, pats Cindy's head, looks back at Amy.
He stands looking at Amy for a long moment.
EXT. WELLES' HOUSE, BACKYARD -- DAY
Welles wears his fishing cap, pushing his lawn mower, mowing
his yard. He has done some healing, though his face is
still swollen and terribly bruised.
INT. KITCHEN -- NIGHT
Welles feeds Cindy with one hand, eating his own dinner with
the other. Amy's across the table, eating, watching them.
INT. BASEMENT -- DAY
Welles works on the WATER HEATER, wrench in hand, reading an
instruction sheet. He puts the sheet aside, uses the wrench
to begin loosening one of the pipe fittings.
EXT. WELLES' HOUSE -- NIGHT
Welles drags two GARBAGE CANS from the garage to the street,
leaving them by the mailbox, walking back to the house.
INT. BEDROOM -- NIGHT
Welles and Amy are in bed. Amy's asleep, on her side,
facing away from Welles. Welles lays awake, on his back,
staring up at the ceiling.
INT. SUPERMARKET AISLE -- DAY
Welles pushes a cart down one aisle. He looks at his LIST,
takes a BOX of CEREAL off one shelf, puts it in the cart.
INT. SUPERMARKET CHECK-OUT -- DAY
Welles waits in line with his cart. It's a long line.
He takes out his wallet, opens it.
In the fold of the wallet, there's a PHOTO folded into
quarters. Welles unfolds it and looks at it dolefully.
It's the PHOTO of Mary Anne Mathews, the image Welles
printed from early in the snuff film. Sad girl.
Welles folds in back up, puts it in another pocket. He
looks forward in the line to see if it's moving.
EXT. SUPERMARKET -- DAY
Welles transfers BAGS of GROCERIES from the shopping cart
into the back seat of his Ford.
INT. WELLES' FORD -- DAY
Welles drives on the HIGHWAY, groceries in back. He watches
the roadway ahead. There's little traffic.
Welles glances down, turns on the RADIO. Some CLASSICAL
MUSIC PLAYS. Welles stares forward through the windshield.
After a moment, Welles turns the RADIO OFF. He drives. The
ONLY SOUND is the DRONE of the ENGINE and TIRES.
Welles is suddenly overwhelmed by emotion, eyes filling with
tears. He tries to fight it, but can't help himself. His
face contorts with sorrow and he cannot stop crying, letting
out a loud WAIL of misery...
EXT. HIGHWAY -- DAY -- CONTINUOUS
Welles' car moves to the shoulder, brakes to a sudden HALT.
INT. WELLES' FORD -- DAY -- CONTINUOUS
Welles takes great deep breathes and lets them out, over and
over again, wiping at his tears. He lets out a little high-
pitched WHINE from far back in his throat...
WELLES
Why... why... ?
He's wracked by SOBBING.
INT. WELLES' HOUSE, CINDY'S ROOM -- DAY
Amy's in a chair, reading a BOOK, not far from Cindy's crib.
Cindy's asleep. The FRONT DOOR of the house is HEARD
OPENING and CLOSING from far off in the house. Amy looks up
momentarily, then returns to reading.
FOOTSTEPS can be HEARD coming through the house, getting
CLOSER. Amy looks up from her book. The bedroom door's
open a crack. The door slowly pushes open. Welles stands
there, eyes red from crying.
AMY
Tom... ?
Welles comes into the room, stands before Amy. He gets to
his knees, puts his head in Amy's lap, wraps his arms around
her waist. Amy holds him, worried, eyes filling with tears.
WELLES
I have to tell you... I have to tell
you what happened. I have to tell
you everything, but we can't tell
anyone else. No one else can ever
know.
Amy runs her fingers through his hair, bends down to rest
her head on his back, holding him with her eyes closed.
Welles holds tighter.
WELLES
You're all I've got. You're all
I've ever had.
(pause)
You're the only one who can save me.
the end
</pre>
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<pre>
(Revised - 5/15/59)
" <u>A</u> <u>T</u> <u>O</u> <u>M</u> <u>I</u> <u>C</u> <u>S</u> <u>U</u> <u>B</u> <u>M</u> <u>A</u> <u>R</u> <u>I</u> <u>N</u> <u>E</u> "
Screenplay by
ORVILLE H. HAMPTON
PRODUCER
ALEX GORDON
DIRECTOR
SPENCER G. BENNET
IN ASSOCIATION WITH PRODUCTION MANAGER
JACK RABIN & IRVING BLOCK EDWARD MOREY, JR.
GORHAM-RAYLOCK PRODUCTIONS
- - -
"<u>ATOMIC SUBMARINE</u>"
AHEAD OF TITLES - PROLOGUE
FADE IN:
1 STOCK SHOT - NORTH POLE AREA - DAY
With, possibly, radically-designed jet planes flying
over the Arctic wastes.
NARRATOR
It cost Commander Robert Peary
twenty years or unremitting hard-
ship and misery to reach the North
Pole, finally, in 1909.
DISSOLVE TO:
2 ANOTHER STOCK SHOT - ARCTIC WASTES - DAY
NARRATOR
It would have astounded Peary to
learn that, by the late 1950's
and early 60's, the vast, frozen
top-of-the-world he pioneered had
become a vital highway for world
travel and commerce. Not just in
the skies...
DISSOLVE TO:
3 SPECIAL EFFECT SHOT - UNDER ICE - SUBMARINE ROUTE
NARRATOR
...but also deep under the ice,
in the frigid, five-million-square-
mile depths of the Arctic Ocean.
4 SPECIAL EFFECT SHOT - CARGO SUB STURGEON - DAY
The huge, heavy vessel glides smoothly along, between
underwater mountains, following the well-beaten Polar
route.
(CONTINUED)
- - -
2.
4 (CONTINUED)
NARRATOR
Here great passenger and cargo-
carrying atomic submarines glided
by the dozens, back and forth
across the Pole, until a series
of mysterious undersea disasters
threatened to close the Arctic
route forever.
5 SPECIAL EFFECT SHOT - CLOSE SHOT - STURGEON
As it glides, very close, PAST CAMERA, so we can read
the name: U.S.A.S. STURGEON (United States Atom Sub
Sturgeon) on the bow. We may spot the closed-circuit
TV camera on the surface of the conning tower.
NARRATOR
The decisive moment came May 3, at
1315 hours, when the undersea
atomic liner, Sturgeon, largest of
them all, reached 87 degrees, 10
minutes north latitude - only a
few miles from the North Pole it-
self!
6 SPECIAL EFFECT SHOT - UNDERWATER ICE CAVE - DAY
In the depths of it appears a distant, faint ball of
glowing light. The ball begins moving toward CAMERA,
slowly, becoming larger and larger. There may be a
FAINT, WEIRD ELECTRICAL HUM just audible from it.
7 SPECIAL EFFECT SHOT - CARGO SUB STURGEON
It moves ahead, unconscious of impending doom, the Peep-
Peep of its sonar impulses now gradually increasing in
pitch, Doppler effect, as they echo back from the
approaching blob of light.
8 SPECIAL EFFECT SHOT - THE SAUCER - DAY
Dimly seen, a vague, indistinct shape (<u>thru</u> this sequence
-- it approaches -- a huge, oval-shaped disc, with what
seems to be a revolving turret, or lighthouse, on top.
The Peep-Peep of the Sturgeon sonar has now risen to a
frantic scream, and the MAGNETIC, LOW-FREQUENCY HUM from
the saucer becomes louder and louder
- - -
3.
9 SPECIAL EFFECT SHOT - PAN SHOT WITH STURGEON
The great atom sub glides past camera, but now, as we
are shooting from her stern over the bow, we see the
screws halt, then go into reverse, and she begins to
back away, back TOWARD CAMERA. Then, in the b.g., we
see the saucer, the great, eerie 'eye' or whatever it
is, looming like a searchlight on her top, and the
oval shape seeming like a great mass of glowing energy.
The saucer is easily overtaking the reversed Sturgeon,
when:
10 SPECIAL EFFECT SHOT - THE SAUCER
It moves to a position nearly filling screen, when...
A great bolt of sheer high-frequency energy - like an
undersea lightning bolt - stabs out from somewhere in
the saucer, and lances out TOWARD CAMERA.
11 SPECIAL EFFECT SHOT - THE SAUCER AND STURGEON
The great, stabbing bolt of energy impinges on the hull
of the Sturgeon, and for an instant, the entire sub
seems to glow with radiant light. Then, in closer de-
tails, we see the effects...
12 SPECIAL EFFECT SHOT - BOW OF STURGEON
It seems to melt away (or collapse) like a shell of
paraffin over a fire. The water boils and hisses
about it.
13 SPECIAL EFFECT SHOT - CONNING TOWER
The radio antenna, the periscope, the mast, the tower
itself - all seem to melt, and collapse.
14 SPECIAL EFFECT SHOT - THE STURGEON
What is left of the Sturgeon, glowing and hissing,
still red hot, begins rising to the surface, towards
the ice-layer.
15 SPECIAL EFFECT SHOT - THE SAUCER
It reverses, draws back into the ice-cave from which
it issued.
- - -
4.
16 SPECLAL EFFECT SHOT - ABOVE ICE - DAY
And now, she seems to be rising in a tremendous crunch-
ing, grinding, writhing activity. Finally, it breaks
completely, and for a moment, the red-hot hull of the
Sturgeon is visible in the cracking, grinding masses
of ice. Then, a larger hiss of steam, and finally a
ROAR of earthquake volume, a fireball, then a mushroom
cloud. The atomic reactor of the Sturgeon has blown up,
the ship is vaporized to nothingness. As the atomic
cloud rises up toward camera...
17 SCREEN WHIRLS OPTICALLY INTO A SPIRAL BLUR
and then
DISSOLVES TO:
18 INSERT - CLCSEUP - NEWSPAPER FRONT PAGE
This comes WHIRLING INTO VIEW, then WHIRLING STOPS and
we can read the headline in the <u>CAPITAL</u> <u>TIMES</u>.
CLOSE ARCTIC SEA LANE
AFTER EPIC DISASTER!!
- - -
Mysterious Loss of Sturgeon,
Latest in Series of Polar
Tragedies, Prompts
Drastic Action.
DISSOLVE TO:
19 EXT. STOCK SHOTS - WASHINGTON
Prererably of the Pentagon. A helicopter shot of it
would be most readily identifiable.
NARRATOR
According to the official reports,
the next phase of the life-and-
death drama occurred May 10, in
Washington --
DISSOLVE TO:
20 INSERT - CLOSEUP PANELED DOOR
On which is lettered:
(CONTINUED)
- - -
5.
20 (CONTINUED)
BUREAU OF ARCTIC DEFENSE
WAR ROOM
NO ADMITTANCE WITHOUT
SPECIAL
SECURITY CLEARANCE
NARRATOR
-- at a hush-hush, super-secret
meeting in the Arctic theater
war room.
21 INT. WAR ROOM - DAY - MATTE SHOT - EST. SHOT
This room is, more than anything else, a system of maps
and charts - a huge detail of the Arctic ocean occupy-
ing an entire wall behind the conference table. On it
are small, magnetic models of submarines, defense
stations, etc. Also, to one side, is a huge globe of
the world, on a revolving stand. File cabinets, rolled
maps and charts, shelves of references, navigation
guides, etc. All business; no time wasted on decora-
tion. There is an electric lock on the door; no one
can 'burst in' on the excuse of making a mistake.
22 CLOSE SHOT - ADMIRAL TERHUNE
The burly, grim-faced Admiral, in uniform, is at the
head of the conference table. There is an intercom
on a small stand beside his position at the table. The
Admiral has a sheaf of reports and photographs, also
a stack of mimeographed 'briefs' at his elbow. No
nonsense; Terhune speaks in clipped, brief phrases,
almost as if he has digested sentences down to short,
terse bursts before 'releasing' them from his lips.
The Admiralts lips are moving as we first see him,
but we do not hear his speech until the Narrator is
finished.
NARRATOR
Admiral Terhune, in charge of the
Arctic Theater for the Joint Chiefs,
well knew the effect the 'leak' of
any of the explosive information
would have on the world civilian
population. So the Admiral was
determined: There would <u>be</u> no
leaks!
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE
6.
23 FULL SHOT - PAST CONFERENCE TABLE - TOWARD DOOR
And now we see Admiral Terhune in the close f.g., and
the other participants of the meeting - DR. CLIFFORD KENT,
a practical, 'egghead' scientist, Chief of Scientific
Research and Weapons Development; SIR IAN HUNT, English,
winner of the Nobel prize for Oceanography, and Defense
Secretary Murdock, distinguished, white-haired.
There is a KNOCK. Admiral Terhune presses the button,
the lock BUZZES, and the door opens.
COMMANDER WENDOVER steps inside. He is a hard-bitten,
intelligent young-old man of about forty. Years of
responsibility have made him older mentally than physically.
He is the highest type of the professional navy man, the
elite of the new craft, the atomic submarine.
WENDOVER
Admiral Terhune!
24 PANNING WITH WENDOVER
He manages a smile, puts out his hand as he crosses to
the Admiral's place at the table, in a TIGHT GROUP SHOT
with the other men.
ADMIRAL
(addressing the men at the table)
Gentlemen, this is the man we've
been waiting for - Skipper of the
atom killer sub, <u>Tiger Shark</u> -
Commander Dan Wendover.
(indicating)
This is Justin Murdock, Secretary
of Defense...
WENDOVER
Mr. Murdock...
MURDOCK
Commander.
ADMIRAL
And I know you've heard of Dr.
Clifford Kent, Dan --
Wendover puts out his hand and the scientist takes it.
KENT
Commander.
ADMIRAL
Dr. Kent had a lot to do with the
development and design of your boat.
(continued)
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 7.
24 (CONTINUED)
MURDOCK
(indicating)
Sir Ian Hunt just flew in from
London.
WENDOVER
(impressed)
Are you <u>the</u> Doctor Hunt - Nobel
prize winner for Oceanography?
SIR IAN
(smiling)
Let's say <u>I</u> took the bows for a
team of brrlliant associates.
They take their seats at the table. Terhune indicates
a place for Wendover; meanwhile, he pulls a sheet of
paper from a file folder in front of him. Looking at
them all in turn to command attention, the Admiral says:
ADMIRAL
Gentlemen, to begin, let me read
you just <u>one line</u> from a detailed
staff study prepared for the Joint
Chiefs: "In our judgment, these Arctic
disasters <u>may</u> prove the gravest
emergency in all history."
25 REACTION SHOT - PANNING OVER FACES
As part of the above line carries over scene.
MURDOCK O.S.
Any comments on that statement?
26 CLOSE TWO - SIR IAN AND KENT
Sir Ian, in typical English underplay fashion, comments:
SIR IAN
Bit on the fanciful side, isn't it,
Sir?
27 GROUP SHOT
The Admiral smiles wryly, murmurs:
(CONTINUED)
- - -
8.
27 (CONTINUED)
ADMIRAL
Possibly, possibly.
(then, a new thought,
taking another paper
from the folder)
Let me read you a partial list
of observed phenomena:
1. Complete disruption of communica-
tions with Dew line warning stations.
2. Destruction of four surface
vessels, largest, 10,000 tons.
3. Radioactivity in Arctic waters,
floe ice and bergs.
4. Peculiar television images preceding
each distress call.
5. Seven Polar atom subs, vanished
without a trace!
(a grim smile)
"Fanciful" did you say, Sir Ian?
28 REACTION SHOTS - CLOSEUPS - MEN
To INTERCUT above, while Admiral reads.
29 TIGHT GROUP
The Admiral looks up expectantly into the faces.
ADMIRAL
Now we come to you, Dan. You
skipper the Tiger Shark, the
most advanced, the deadliest
killer sub in the fleet. Right
now she's undergoing emergency,
around the clock modification in
the Bremerton navy yard.
The Admiral pulls a cross-section of the Tiger Shark
from his pile of documents, uses a pencil to indicate
his point as he says:
ADMIRAL (cont'd)
The orders call for special obser-
vation and testing instruments
here...
30 INSERT - CLOSEUP - DIAGRAM OF SUB
As the Admiral's pencil, as a pointer, follows his
words, he explains:
(CONTINUED)
- - -
9.
30 (CONTINUED)
ADMIRAL O.S.
Removal of all but two atomic
torpedos. Special launching
equipment for water-to-air
ballistic missiles. A special
escape hatch in the keel for the
<u>Lungfish</u>.
31 GROUP SHOT - FAVORING WENDOVER AND ADMIRAL
As Wendover frowns, puzzled.
WENDOVER
'The Lungfish?'
ADMIRAL
A special deep-exploration device
- sort of an animated diving bell.
Captain Siguard Nielsen developed
it, after he retired, if you remem-
ber?
(tossing the diagram
back on the pile)
He'll be going with you -
(then, indicating
the other two
scientists)
- along with Dr. Kent, and Sir Ian.
32 CAMERA ROLLS IN SLOWLY FOR TIGHT TWO OF THE ADMIRAL
AND WENDOVER
Wendover's face becoming more and more grim as the
Admiral explains:
ADMIRAL
Special orders are being cut
recalling your entire crew
from leave, effective at once.
There's a fast jet at National
Airport waiting to fly you,
Dr. Kent and Sir Ian to Seattle.
33 CAMERA MOVES IN FOR BIG HEAD OF WENDOVER
as the Admiral concludes:
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE"
10.
33 (CONTINUED)
ADMIRAL O.S.
The Mission of the Tiger Shark is
to hunt down and identify the cause
of these Arctic disasters. If humanly
possible, you will remove it:
SLOW DISSOLVE TO:
33-A STOCK SHOT - SEATTLE - PREFERABLY HIGH PANORAMA - NIGHT
DISSOLVE TO:
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE"
10-A.
33-B INT. REEF'S APARTMENT - NIGHT
A modern bachelor apartment - living room and bedroom
combination, nicely furnished, with a kitchenette
behind a pass-through bar at the other end of the room.
This doubles as a bar for mixing drinks. Empty
glasses and the remnants of snacks are scattered about.
33-C APARTMENT DOOR - THREE SHOT - DAVE HELEN REEF
LIEUTENANT DAVE MILBURN, ex-Naval Academy halfback
and inter-collegiate boxing champion, hard-nosed and
trigger-tempered, is reluctantly taking leave from
Reef's party. His pretty, placid wife, HELEN, is
indeavoring to get him through the open door and cut
his 'farewell scene' short. Dave is slightly, but
not objectionably, high. REEF HOLLOWAY, a handsome,
capable, relaxed Annapolis-type, is smiling amiably
and bantering with Dave, all the while trying to
usher him out with determined speed. But it is not
easy to get Dave through the door. He is chattering
constantly, in a lecturing tone, to someone inside
the apartment o.s.
DAVE
(earnestly)
...Not that I don't think our
Lieutenant Commander Holloway is
the finest exec in the sub fleet,
Julie...and not that he isn't the
best friend I have -
HELEN
(pulling Dave by his arm)
Come on, Dave. You talk too much.
DAVE
Quiet, Little Mother!
(back to Julie o.s.)
I feel it behooves me to warn
you -
33-D FULL SHOT - JULIE
perched on the arm of an overstuffed chair, in all
her lush female magnificence - contoured and
accoutered elegantly - with fine legs, long and sexy.
Julie is drool-bait, especially for an undersea
sailor who only comes up for air and 'so forth'
every three months. Julie smiles to herself as she
listens to Dave's slightly thick, but earnest advice.
DAVE
(continuing, o.s.)
Our friend Reef is no less than
Number One Howl of the entire sub
Wolf Pack. Nuclear powered! When
it comes to women, he has a built-in
sonar detector that -
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 10-B-C-D.
33-E THREE SHOT - REEF DAVE HELEN - APARTMENT DOOR
Reef is trying to crowd Dave through the door from
behind while Helen is tugging away at him from the outer
portion of the doorway.
REEF
Now, Dave Old Buddy, you know
you're exaggerating -
(to Helen)
What do you think of this husband
of yours? On most boats a certain
loyalty exists between the Exec and
his Navigation and Firing Officer.
(he sighs tragically)
But unfortunately, in the case of
Lieutenant Dave Milburn of the Tiger
Shark and myself -
DAVE
(fighting his way back
inside, militantly)
But Julie's a nice girl, and I've
seen you work. She deserves a fighting
chance!
REEF
Helen. I appeal to you -
HELEN
(clutching Dave by both
shoulders and staring him in
the eye)
Dave! Look at me! I am the mother
of your three children! Now <u>please</u>
take me home to them. At once!
Dave smiles weakly, now feeling the drinks, bows
heroically to the room at large, and exits scene
under Helen's guiding arm. Reef closes the door
behind them with an elaborate sigh, then CAMERA
PANS WITH HIM into scene with Julie. She looks up
at him impishly and smiles:
JULIE
Dave <u>is</u> exaggerating. Just think, a
man spends three months in a deep freeze.
It'd take his whole shore leave just to
thaw him out. By that time, he's ready
to report back!
REEF
It won't take <u>me</u> long to defrost -
not around <u>you!</u>
The moment is pregnant with anticipation as Reef
meets the unspoken challenge in Julie's eyes as we
DISSOLVE TO:
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 10-E
33-F TIGHT TWO SHOT - BIG HEADS - REEF AND JULIE
In a deep, torried kiss on the couch. Eyes closed,
they enthusiastically plumb the depths of feeling, then,
at last, reluctantly, they break apart. Julie sighs
deeply. Reef shakes his head, like a boxer who has
sustained a knockout punch, trying to clear it. CAMERA
PULLS BACK for MED. TWO. Julie, unable to speak for a
moment, throws a quick look at Reef, who seems to be
gulping for air, then she reaches for a cigarette from
a box on the coffee table. She drops two or three as
she fumbles for one and finally gets it in her mouth.
Reef picks up a table lighter, strikes it, holds it to
her cigarette. But his arm is trembling so he cannot
hold it steady. Finally, Julie grasps his wrist, holds
the flame steady, then contrives to bring the tip of the
cigarette in contact with it. She leans back, takes a
deep drag, only now dares to speak.
JULIE
(ruefully)
What was I saying...about thawing
out icebergs?
Reef manages a tiny smile. Then he observes:
REEF
You never can tell about ice-
bergs. Only one-ninth above water.
Julie weighs this, then studies Reef appraisingly:
JULIE
After that kiss - I'd say that's
about right.
Reef snuggles closer to her, slips an arm about her
waist, murmurs:
(CONTINUED)
- - -
10-F
33-M (CONTINUED)
REEF
Do <u>you</u> feel anything?
JULIE
(incredulous, dis-
traught)
Are you <u>kidding</u>???
She takes a couple of rapid puffs, reaches for her
drink, takes a long pull at it.
REEF
I mean - that this is the be-
ginning of something - that it
wasn't just...accidental, our
getting together?
JULIE
(wryly)
Original!
(staring off, as
if to recall)
Isn't the next chorus something
about: 'Let's not waste one
precious golden moment - any
second, there could be a knock
on the door, and -
Reef covers her mouth with his fingertips, murmurs:
REEF
Stranger things have happened,
you know. I've had leaves can-
celled like -
He snaps his fingers. Now Julie covers <u>his</u> lips,
murmurs with unmistakable import:
JULIE
Then by all <u>means</u>, let's not
waste time!
And she kisses <u>him</u> - hard, enthusiastically. Immedi-
ately, happ1ly, Reef enters into the spirit of the
thing.
- - -
10-G
34 (OMITTED)
34-A INSERT - CLOSEUP GLOVED HAND - AT DOOR OF REEF'S
APARTMENT
A uniform glove. It comes up to the bell, which is be-
neath a card reading: LT. COMM. RICH. L. HOLLOWAY, U.S.N.
The gloved finger punches the bell.
35 INT. REEF'S APARTMENT - NIGHT - TIGHT TWO - REEF AND
JULIE
Still kissing. Julie murmurs:
JULIE
I hear a bell.
Eyes closed, Reef murmurs:
REEF
I hear a whole carillon of 'em!
And he kisses her again.
36 INT. HALL OUTSIDE REEF'S APARTMENT - NIGHT - INSERT -
CLOSE PAN - WITH HAND
As it leaves the bell, begins BANGING on the door in-
sistently.
37 INT. REEF'S APARTMENT - NIGHT - TWO SHOT - JULIE AND
REEF
Again, frowning, she listens:
JULIE
What's that pounding?
Reef, eyes still closed, takes her hand, places it over
his heart.
REEF
(murmurs)
Need I say more?
And he kisses her again. The POUNDING STOPS.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 10-H
38 OVER SHOULDERS OF REEF AND JULIE - DOWN AT FLOOR
And now Julie, looking over Reef's shoulder, sees an
envelope pushed under the door from the hall outside.
She reacts, taps him on the shoulder.
JULIE
(insistently)
Reef - look!
Reluctantly, he turns, sees the envelope. He frowns at
her. With extreme reluctance, he goes to the door,
stoops down, picks up the envelope, removes the contents.
Julie waits anxiously.
Suddenly, Reef grasps the significance, slaps his fore-
head in exasperation.
REEF
Oh no!
JULIE
(alarmed)
What's wrong?
She jumps up, goes over to him, grasps his wrist, looks
at the papers. She, too, reacts, as Reef tragically slaps
his forehead again, looks regretfully at her - this lovely,
willing morsel.
REEF
Oh no!
And he is almost crying as we -
SLOW DISSOLVE TO:
38-A STOCK SHOT - A NAVY YARD - NIGHT
CUT TO:
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 11
39 EXT. NAVY YARD - NIGHT - CLOSEUP SIGN ON BUILDING
BREMERTON NAVY YARD
DOCKS 1-6
No Admittance Except to Authorized
U.S. Navy Personnel
CAMERA PANS OFF SIGN to pick up jeep which pulls up to
the front of the gate leading to the pier. Reef Holloway,
very grim-faced, very disgusted, climbs out, takes his
sea bag from the vehicle. The jeep pulls away. Reef,
shaking his head regretfully, starts toward the Marine
guard at the door.
OMIT 40
40A NAVY YARD - AT GATE
CHIEF OF THE BOAT 'GRIFF' GRIFFIN, an 'old Navy' man
with clipboard, is checking off seamen, one by one, as
they pass through the gate, murmuring their names and
passing on the submarine o.s.
As Reef approaches, LIEUT. DAVE MILBURN intercepts him.
DAVE
Reef!
REEF
(glumly)
So they caught up with you, too?
40B TWO SHOT - DAVE & REEF
DAVE
(sadly)
At the worst possible moment.
Tomorrow is Janie's birthday.
Poor little kid has looked forward
for two months to having her Daddy
home. Now -
REEF
(unimpressed)
<u>That's</u> the worst possible moment?
DAVE
(frowning)
What could be worse than disappoint-
ing a little girl?
REEF
(flatly)
Disappointing a <u>big</u> girl!
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE"
11-A
40B (CONTINUED)
Dave, with a wicked grin, takes this big.
DAVE
Julie!
(he laughs cruelly, unsympathetically)
Reef throws him a dirty, betrayed look.
40C PANNING WITH THEM - PAST GRIFF
As they start through the gate past Griff, who acknowledges
them. Dave laughs heartily, claps Reef sympathetically on
the shoulder.
DAVE
Tough, old buddy! <u>Really</u>
tough!
DISSOLVE TO:
41 INT. CONTROL ROOM - GROUP SHOT - WENDOVER HUNT KENT
As Dave and Reef come down ladder and greet Wendover.
REEF
(puzzled)
Thought you were going to
Washington, Skipper.
WENDOVER
I did go. Just back.
(then)
Reef, these are a couple of
our passengers - Sir Ian Hunt,
and Dr. Clifford Kent. My exec,
Commander Richard Holloway.
REEF
(shaking hands)
I met Dr. Kent, once.
KENT
Nice to see you again, Commander.
REEF
(puzzled)
Are you men going with us? What
for? Where -
WENDOVER
(non-commitally)
We'll discuss that later.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 12.
42 PAN WITH WENDOVER TO SEAMAN
WENDOVER
Tell Chief Griffin to report to
me as soon as the crew is aboard.
The seaman acknowledges the order and exits.
WENDOVER
(to Kent and Sir Ian)
My yeoman will show you to your
quarters.
SIR IAN
Thank you.
One of the seamen leads the way out bulkhead door
to the wardroom.
42A EXT. NAVY YARD - AT GATE (as in 40-A)
The seaman who reported Wendover's message is just
exiting scene. Griffin is checking names off on his
roster as YEOMAN CHESTER TUTTLE, rumor-monger of the
Tiger Shark, approaches the Chief.
CHESTER
What's the scoop, Griff? Hauled
out in the middle of the night - all
leaves cancelled. We goin' to war,
or what?
GRIFF
(logically)
Don't you worry, Chester. When the
Skipper wants you to know what's going
on, he'll tell you. Okay?
CHESTER
(not satisfied)
I don't like it. This is all mighty
funny -
GRIFF
(non-commitally)
Isn't it, though?
(then, motioning with his
pencil)
Suppose you get aboard, anyway, huh?
Disgruntled, Chester passes through the gate, as Griff
checks him off on the roster and grins after him.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 13-14
43 INT. CONTROL ROOM - NIGHT
Here is the 'brain' of the sub - the controls, the
TV monitors, the sonar sets, the 'Christmas Tree' panel
of warning lights, etc.
44 FULL SHOT - THE CON
Dave Milburn is already busy checking the equipment.
The other seamen are preparing the boat for sea. Reef
turns to Wendover.
REEF
I think I'll stow my gear.
But Wendover, with a peculiar look, frowns, and says:
WENDOVER
I'm - afraid I have some bad
news for you, Reef -
(as Reef looks at him)
You'll have to share quarters,
this trip.
REEF
(frowns, puzzled)
Who with?
WENDOVER
Dr. Neilsen. He'll be - -
(CONTINUED)
- - -
15.
44 (CONTINUED)
REEF
(grins)
'Doctor' Neilsen? When did <u>that</u>
happen?
WENDOVER
(puzzled)
Huh?
REEF
(cheerfully)
It'll be all right. We're old
friends!
Now Reef is down below deck level. Wendover turns
towards Dave. Wendover shrugs helplessly. Dave re-
turns it.
WENDOVER
(checking the plot
board)
Get ready. We shove off as soon
as Griff reports all the crew
aboard.
DAVE
Right, Skipper.
He goes to work, as Wendover smiles peculiarly at the
bulkhead door through which Reef just passed.
45 INT. PASSAGEWAY - NIGHT - PAN SHOT - WITH REEF -
OVERLAP ACTION ABOVE
As he climbs down a ladder into FRAME, then PAN WITH
HIM as he eases past a couple of seamen and arrives at
the entrance to the exec compartment. He frowns as he
sees a sign by entrance.
46 INSERT - CLOSEUP - THE SIGN
It is only stuck on by scotch tape, below the normal
exec sign. It reads: DR. NEILSEN.
47 CLOSE SHOT - REEF
He hesitates only a second, knocks, then pushes drapes
aside.
- - -
16.
48 INT. EXEC COMPARTMET - NIGHT - MED. CLOSE - REEF
As he enters, smiling cheerfully:
REEF
I understand we'll be sharing
quarters, Skipper -
(but then, his grin
fades, becomes a look
of disgust, loathing)
Carl! You - !
49 TWO SHOT - REEF AND CARL NEILSEN
CARL NEILSEN has the look of an ascetic - thin, sensi-
tive features, a nervous, intense manner - the 'egg-
head' appearance. He turns, reacts to Reef's presence.
He is smoking a cigarette in rapid, nervous puffs.
Reef sinks, disgusted onto the bunk.
REEF
I should have suspectcd, when
I heard that 'Doctor.' I thought
it was your father.
CARL
It was supposed to be. Dad had
a heart attack, two days ago.
REEF
(alarmed)
How is he - ?
CARL
It was moderate. He'll be
all right.
(then)
But it was out of the question,
his coming along.
REEF
(disgusted)
And they thought <u>you</u> could re-
place the Skipper?
Carl displays a trace of anger for the first time.
CARL
There was no choice. Dad and I
developed the Lungfish together.
Except for him, I'm the only one
qualified to dive in it.
(CONTINUED)
- - -
17-18
49 (CONTINUED)
REEF
You could train someone else.
CARL
Not in two days.
(then, earnestly)
Look: Do you think I <u>wanted</u>
to come? If it didn't mean
so much to Dad - proving his
depth-explorer - it's the last
thing I'd want!
Reef's lip curls contemptuously. He mutters slowly,
angrily:
REEF
<u>That</u> I can believe!
Carl drops his eyes at the intensity of Reef's stare.
He turns to his gear, begins unpacking his essentials.
Reef shakes his head vaguely, worriedly.
DISSOLVE TO:
50
thru (OMITTED)
53
54 EXT. SUBMARINE DOCK - NIGHT - STOCK SHOT OR SPECIAL
EFFECT - SUBMARINE LEAVING DOCK
It makes a turn in the channel, then heads up the
Sound, past Seattle, toward the open sea.
(CONTINUED)
- - -
19.
54 (CONTINUED)
NARRATOR
The Tiger Shark left her dock
at Bremerton at 0335 hours, the
morning of May 11, on what was
to prove the strangest, most
fearful voyage ever made by a
submarine, atomic or otherwise.
WIPE TO:
55 INT. CAPTAIN'S COMPARTMENT - NIGHT - CLOSE SHOT -
WENDOVER AT DESK
He carefully opens a compartment of his desk, locked
by a combination lock, takes out the log book and the
sealed orders for the voyage. Then, replacing the
orders in the compartment, he takes a pen and begins
making an entry in the log.
NARRATOR
Simultaneously with the 'Shark's'
departure, and with his crew still
in the dark concerning their secret,
fateful mission, Skipper Wendover
made the first notation in the log...
56 INSERT - CLOSEUP - THE LOG BOOK
As Wendover's hand writes, carefully and precisely:
MAY 11 - 0335 HOURS. DEPARTED BREMERTON DOCK, FULL
CREW - SPECIAL PASSENGERS KENT, HUNT,
NEILSEN. WILL BRIEF CREW IN TWO HOURS
AFTER CLEARING SOUND...
NARRATOR
...The men would remain un-briefed
for two hours, until the Tiger
Shark cleared Puget Sound and was
headed for the open sea...
DISSOLVE TO:
57 INT. CREW DINING ROOM - NIGHT - FULL SHOT - THE
DINING HALL
Which has a series of long tables and benches, re-
movable when the room is to be used for other pur-
poses. To one side is the pass-through to the galley,
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 20.
57 (CONTINUED)
where there is always a cook on duty to feed and
coffee men coming off watch. There are several crew
members drinking coffee at the tables now. We see CPO
Griff Griffin enter, almost stumble and fall over a huge
pile of equipment on the floor - aqualungs, face masks,
tanks, fins, rubber suits, etc. - sharkman outfits.
Griff explodes:
GRIFF
Who the devil belongs to this...
gear?
POWELL O.S.
We do, Chief.
And AL POWELL, a long, lean drink-of-water, and his
partner, DON CARNEY, shorter, stockier, an ill-assorted
pair, step into scene, looking somewhat uneasily at the
irate Chief.
GRIFF
Oh? <u>You</u> two guys - what do you
do around here?
CARNEY
Underwater demolition. Seamen
First Class Powell...
(indicating the taller)
...and I'm Carney.
GRIFF
(exasperated)
Yeah, I know - so you're frogmen!
POWELL
We're off tin cans. We've looked
this pig-boat over from fore-to-aft,
but can't seem to find an empty
locker to stow our stuff.
GRIFF
An empty <u>locker</u> in a <u>sub</u>? Are you
kidding?
(then, hands on hips)
This whole deal is making less and
less sense to me. What're <u>frogmen</u>
doing aboard the Tiger Shark?
(CONTINUED)
- - -
21.
57 (CONTINUED)
CARNEY
Following orders, like everybody
else in the navy.
(he takes out his
and Powell's, hands
them to Griff)
Griff examines them, scratches the back of his neck,
shakes his head.
GRIFF
Beats me.
(then, handing
back the orders)
I don't envy you swabbies, swimmin'
in that North Pole ice water.
POWELL
Meantime, where'll we stash these
gizmos?
Griff gestures for them to pick it up, and follow him.
GRIFF
Come on. Maybe we can hide it
somewhere in the aft torpedo
room.
Powell and Carney pick up their gear, follow Griff aft.
DISSOLVE TO:
58 EXT. OPEN OCEAN - NIGHT - SPECIAL EFFECT SHOT -
TIGER SHARK SNORKEL
The only portion of the sub above water.
NARRATOR
Shortly before dawn, the Tiger
Shark, running submerged at
better than thirty knots, had
left the Sound behind and was
headed for the open sea.
59 INT. PASSAGE TO WARD ROOM - PAN SHOT WITH WENDOVER
as he climbs down a ladder from an upper hatch into the
passage to the ward room.
- - -
5-27-59 "ATOMIC SUBMARINE" 22-23
59-A INT. WARD ROOM OF SUB - NIGHT
The ward room, officers' dining room and "social"
area, where the ship's officers, including Reef and
Dave, the scientists, Carl Neilsen and Griff, are
assembled. Griff has a microphone ready for the
Captain, as he enters.
Wendover sits down, as Griff steps back a pace or two.
Wendover takes out his sealed orders, opens them,
glances through them, then hands them to Reef.
WENDOVER
These are our orders, Reef. Better
look them over while I fill in the
crew.
Reef takes them, and is reading them intently while
the Captain is saying into the microphone:
WENDOVER
Now hear this: All men of the
Tiger Shark. This is the Captain
speaking.
(he takes a deep breath)
I know you're wondering about all
the mystery -
OMIT 60-62
- - -
5-27-59 "ATOMIC SUBMARINE" 24.
63 REACTION SHOTS - ABOUT SUB
In thc (a) torpedo room (b) crew dining room
(c) control room, as desired, to intercut
Wendover's briefing. All the faces are sober,
xxx tense.
WENDOVER O.S.
(filter)
Our mission is so dangerous it
had to be kept completely secret.
It's our job to find out what
caused the disasters under the
Arctic ice. Once we cross the
Arctic Circle, any command you
hear will be the real thing,
remember that!
64 INT. WARD ROOM - NIGHT - MED. GROUP - ABOUT WENDOVER
As he finishes, his face set, solemn, sober.
WENDOVER
That's about it. Now you know as
much as I do - as much as anybody does -
(a faint, grim smile)
I assured Washington this was the
best crew of the best sub in the
fleet. I know you won't make a
liar out of me!
Wendover clicks off the mike, hands it to Griff,
who solemnly hangs it up. Dave heaves a deep sigh,
relieving tension, breathes a solemn:
DAVE
Well!
Reef, grim, his face frozen, hands the orders back
to Wendover.
WENDOVER
What do you think?
REEF
(slowly, considering)
I think I should have joined the
Air Force!
And the members of the group manage a faint smile.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 25.
65 CLOSE SHOT - CARL
Nervously he studies Reef. He is visible just beyond,
looks up, meets the glance. Carl turns ostentatiously
away.
DISSOLVE TO:
66 MONTAGE SEQUENCE
INSERT - CLOSEUP WENDOVER'S HAND WRITING IN LOG
And the notation: MAY 18, 1200 HOURS, STILL RUNNING
DUE NORTH VOYAGE UNEVENTFUL POSITION 165:20 W. LONGITUDE,
LATITUDE 58' 10'...
And over the moving hand we:
SUPERIMPOSE:
INSERT - ANIMATED MAP OF POLAR REGION
With a moving course line of the Tiger Shark's voyage
from Puget Sound north into Arctic waters. At this
point she is possibly about opposite Juneau, but far
out in the Pacific.
Over above two scenes:
NARRATOR
A week later, the Tiger Shark was
still running due north at cruising
speed. So far the voyage was routine,
uneventful. But the nearer they came
to the Arctic Circle...
OMIT 67
- - -
26.
67 (CONTINUED)
Over these scenes:
NARRATOR (cont'd)
...the more the tension increased,
the more tiny irritations were
magnified into bitter feuds...the
more the crewmen pondered their
possible rate at the end of the
voyage...
FADE BACK IN - SUPERIMPOSED:
68 INSERT - THE ANIMATED POLAR MAP
With the course line still moving north.
<u>END OF MONTAGE</u>
FADE OUT:
FADE IN:
69 INSERT - CLOSEUP - WENDOVER WRITING IN LOG
And now the entry reads: MAY 20, 0900 HOURS CROSSED
ARCTIC CIRCLE NEARING DANGER AREA ALL WATCHES DOUBLED...
NARRATOR
On the morning of May 20, the
Tiger Shark crossed the Arctic
Circle into the critical area...
DISSOLVE TO:
70 STOCK SHOTS - ARCTIC
This should consist of moving fields of bergs, avalanches
polar bears, walrus, etc.
DISSOLVE TO:
71 SPECIAL EFFECT SHOT - TIGER SHARK
Running at periscope depth.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 27.
72 INT. CONTROL ROOM - DAY - POV - OPTICAL SHOT -
SPECIAL EFFECTS - CLOSE SHOT TV MONITOR
As the viewer apparently pans over a field of floating
icebergs.
DISSOLVE TO:
OMIT
73
74
74A
75 INT. WARD ROOM - DAY - PANNING WITH REEF AND DAVE
As they come in. Reef stops, glares as he sees Carl,
sitting at one of the tables, making calculations on a
pad, sipping coffee. Carl looks up, catches Reef's
eye. Without a word, he finishes his coffee, picks up
his material, and goes out. Dave watches this tableau
curiously. When Carl is gone, Reef goes to the silex,
pours a cup of coffee for himself and one for Dave.
Dave joins him, puzzled.
REEF
(bitterly)
You've asked why I stay a bachelor?
There goes the best reason I know!
DAVE
(puzzled)
Huh?
REEF
I might have a son like <u>that!</u>
- - -
(Revised - 11/14/58) 28.
76 TWO SHOT - AT TABIE
As Reef and Dave sit down. Dave shakes his head, be-
wildered.
DAVE
I don't get it. What's with
you two?
Reef sips his coffee.
REEF
I guess Skipper Neilsen re-
tired before you enrolled
at the Academy, didn't he?
DAVE
I guess.
REEF
(sincerely)
One of the finest men, and
officers, alive. A real hero
- in the best sense of the word
- in World War Two. He taught
us Engineering and Design.
Fought like a demon to develop
atom subs.
DAVE
So?
REEF
(bitterly)
So all of a sudden his only
son drops out of school, be-
gins making noises like a
pacifist. A real egghead,
do-gooder, and crackpot! 'Ban
the atom tests! Junk the
nuclear subs! Spend the mili-
tary budgetfor peace!'
DAVE
(soberly)
A lot of people think like
that.
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 29-38
76 (CONTINUED)
REEF
(earnestly)
But <u>they're</u> not Skipper Neilsen's
son!
(sadly)
It broke his heart. Then when some
newspapers called Carl 'the honest,
sincere son of a war-mongering father' -
Captain Neilsen resigned from the Navy.
(then)
Oh, he still keeps his hand in - playing
around with projects like the 'Lungfish' -
but it broke him, all the same.
DAVE
(broad-mindedly)
Have you ever talked to Carl - tried
to see his side?
REEF
(sarcastically)
'His' side? I've seen it, all right.
A nice, bright yellow!
Dave looks questioningly at Reef. Reef drinks his
coffee rapidly, then exits.
CUT TO:
OMIT
77
78-92
- - -
39.
93 INT. TORPEDO ROOM - DAY - TRUCKING OR PANNING - WITH
REEF
As he enters, climbs down the ladder to the torpedo
room, starts forward.
94 MED. FULL - ESCAPE HATCH
Chester and Powell are working on equipment for the
little sub, which is stored below the escape hatch and
will be used to launch it from the belly of the Tiger
Shark.
Reef enters, addresses the crewmen.
REEF
Any of you men seen Dr. Neilsen?
Chester turns.
CHESTER
He's here, Sir.
Reef turns to the other men.
REEF
Tuttle, would you mind leaving
us alone for a minute?
Chester Tuttle looks at Powell, who shrugs.
CHESTER
Sure, Mr. Holloway.
(CONTINUED)
- - -
40.
94 (CONTINUED)
He and Powell go o.s. towards the men's dining room.
Carl, sensing something, frowns, moves closer to Reef.
95 TWO SHOT
CARL
What is it?
REEF
(contemptuously)
Your 'out.'
(as Carl looks
puzzled)
This came for you.
(indicating the
radiogram)
CARL
My father! He's not - ?
REEF
Dead?
(he shakes his
head)
Matter of fact, he's much better.
He's left the hospital.
He hands the radiogram to Carl, who scans it eagerly,
relaxes, vastly relieved. Then he frowns, puzzled.
CARL
What did you mean: I'm 'out?'
REEF
Your father can be in Nome, Alaska,
tomorrow. We have two choices:
Ask them to send him out in a
'copter', and take you off, or the
Shark can put back into Nome...
Now Carl reacts angrily, hotly, for the first time.
CARL
You 'trade school boys' are all
alike, aren't you? Anybody who
doesn't happen to think like a
little gold-braided puppet is,
ipso facto, a coward!
REEF
(angrily)
<u>You</u> said it. But I won't argue -
(CONTINUED)
- - -
41.
95 (CONTINUED)
CARL
Wearing a uniform doesn't bestow
an automatic monopoly on courage,
<u>Commander</u>! It just so happens I'm
<u>not</u> a coward - physical or mental -
and before I'd risk my father's life...
REEF
(interrupting)
We're <u>all</u> risking our lives!
CARL
That may be. But Dad stays where
<u>he</u> is, and I'm staying here!
REEF
(studying him)
You're really a mixed-up oddball,
aren't you?
CARL
Perhaps. But the idea of willingly
going to <u>school</u> to spend my <u>life</u> at
a Paleozoic pastime that should have
disappeared with the thunder-lizards -
I'm referring to War - <u>that</u> strikes
me as the <u>worst</u> cowardice of all -
being spiritually yellow!
REEF
(sneering)
You mean <u>nothing</u> is worth fighting
for?
CARL
Peace - the dignity of man - the
destiny of the human spirit!
(hotly)
Show me a man who says you win <u>those</u>
by fighting wars, and <u>I'll</u> show you
an idiot!
REEF
(bitterly)
You may not <u>win</u> them. But without
men like your father, to 'degrade'
himself by fighting to preserve them -
or as much as we have of them - they'd
have disappeared, <u>long</u> ago!
Carl reacts to this. The shot, for the first time, has
struck home. But then, just as he opens his mouth to say
something, there is a TREMENDOUS, RATTLING CRASH...as if
(CONTINUED)
- - -
42.
95 (CONTINUED - 2)
the Tiger Shark had shattered a huge, infinite pane of
glass under water. The SCENE JUMPS. Reef looks around,
terribly alarmed.
REEF
What the - ?
Now there is the CLANGING of the GQ alarm, and over it,
Wendover's voice.
WENDOVER
(filter)
Mr. Holloway to the Con, please!
On the double!
96 CUT TO COVER - DIALOGUE ABOVE
97 PAN WITH REEF
He runs to the end of the torpedo room, begins scrambling
up the ladder.
98 INT. CONTROL ROOM - DAY - MED. FULL - TOWARD INSTRUMENTS
Present besides the seamen are the Skipper, Dave, Dr.
Kent and Sir Ian. The scene is bedlam - the Sonar is
screaming weirdly, the SHATTERING CRASHES are repeated
over and over, and the scene JUMPS WILDLY. Dave points
at the view screen, yells:
DAVE
The instruments have all gone
crazy! And look at the view
screen!
The scientists peer over his shoulder, absorbed:
SIR IAN
(murmurs)
Incredible! Absolutely!
Kent's jaw sets tensely.
99 SPECIAL EFFECT SHOT - VIEW SCREEN AND INSTRUMENTS
This is a wild extravaganza. The radar pattern is
jumbled, overlaid with a half-dozen wave-forms. The
dials and lights flicker and glow with utter insanity.
And the view screen - it is a panoply of flashing, comet-
like streaks, jagged streaks resembling lightning bolts,
the while accompanied by staccato crashes, alarm bells,
shattering bolts of thunder-like sound.
- - -
43.
100 SHOOTING PAST THEM - AT HATCH
As Reef comes scrambling up into the Con.
REEF
(shouting)
What hit us???
SIR IAN
(drily)
The end of the world!
Wendover spreads his hands helplessly. Kent is still
frowning at the view screen.
KENT
It doesn't seem possible, but -
could it be an electrical storm
center - ?
SIR IAN
(incredulous)
Under <u>water</u>?
KENT
High-intensity arcs will burn,
submerged. And millions of
volts...discharged in random
directions...
WENDOVER
(to Dave)
Is there any way out of it?
DAVE
Seems to be all around...
WENDOVER
(grimly)
What about down?
DAVE
(surprised)
I...don't know!
Wendover turns to Reef:
WENDOVER
We're dead if we stay here, that's
for sure.
(bluntly)
Take her down! Maximum angle, maxi-
mum depth! Maybe even a little more!
(CONTINUED)
- - -
44-45-46
100 (CONTINUED)
REEF
Aye, aye.
He moves to the helm, begins AD LIBBING directions to the
helmsman. Wendover displays crossed fingers to Sir Ian,
Kent and Dave.
101 SPECIAL EFFECT SHOT - TIGER SHARK
(This may also intercut earlier dialogue)
It seems to be buffeted by an underwater storm. The
scene is lit by underwater lightning bolts, crashes like
exploding skyrockets, the sub is tossed about like a
chip. Finally, when it seems that nothing can survive
the electrical barrage, we see the nose tilt down steeply,
and the Shark glides deeper and deeper into the depths.
CAMERA HOLDS as it goes below frame.
DOWN WIPE TO:
102 DEEPER ANGLE - TILTING DOWN WITH SUB - SPECIAL EFFECTS
SHOT
As it noses deeper and deeper into the depths, the bolts
of lightning seem to follow it down, probing after it.
But at last, the bolts are left behind, the turbulent
waters are calm, the crashing noise subsides. Then we
see that the sub is almost on the bottom. At last, it
<u>does</u> touch and --
DISSOLVE:
103
thru (OMITTED)
107
108 INT. WARD ROOM - NIGHT - GROUP SHOT - ABOUT TABLE -
AT DINNER
Present are the Skipper, Sir Ian, Dr. Kent, Carl and
Reef. They are just finishing the meal.
KENT
(almost as if be-
ginning a lecture,
he clears his throat)
Sir Ian has evolved a theory. At
first, I wasn't about to buy it.
(continued)
(CONTINUED)
- - -
47.
108 (CONTINUED)
KENT (cont'd)
But, we have eliminated, one by
one, <u>every</u> <u>other</u> logical explana-
tion -
The others turn eagerly to Sir Ian.
SIR IAN
It is rather fantastic -
Sir Ian hesitates. Then, from beside his chair, he
picks up a large, rolled chart. He unties the string
binding it.
SIR IAN
Here is a chart of the Arctic
region. On it I have plotted
every instance of these strange
phenomena - sinkings, electrical
storms, our own experiences...
He unrolls the chart on the table top. Reef and Wendover
exchange a perplexed look. Then they get up, come around,
peer down over Sir Ian's shoulder at the chart. Sir Ian,
with a pencil, gestures on the chart.
109 INSERT - CLOSEUP - THE CHART OF THE ARCTIC
And as Sir Ian's pencil moves, we see a circle of 'X's'
about the North Pole, equidistant from it, each marked
with a date, and, in print too fine to be read, the
circumstances. As he points to one, in the Bering
Straits...
SIR IAN O.S.
Here was where we encountered the
electrical storm...The Sturgeon
was lost just about this area.
Others...here, here, and here...
110 GROUP SHOT
As Sir Ian looks up from the chart, demands:
SIR IAN
Do you see it?
(CONTINUED)
- - -
48.
110 (CONTINUED)
WENDOVER
See what?
SIR IAN
The pattern.
(tapping the chart
repeatedly)
Each incident occurred almost
precisely a thousand statute
miles from the Pole. A line
through the points of occurrence
makes almost a complete circle...
111 INSERT - CLOSE SHOT - THE CHART
As Sir Ian's pencil follows his remarks, tracing this
concentric circle about the polar region.
SIR IAN O.S.
(continuing)
...<u>about</u> the North Pole.
112 GROUP SHOT
Reef frowns, inquires bluntly:
REEF
Which adds up to what, Sir Ian?
SIR IAN
(significantly)
I cannot accept the idea that
these phenomena were either
random, <u>or</u> natural.
(a break)
I believe they are motivated by...
some sort of intelligence!
The others react, Wendover and Reef exchange a look,
then Wendover explodes angrily:
WENDOVER
You mean somebody has been -
But Sir Ian interrupts him firmly:
SIR IAN
I did not mean to imply, neces-
sarily, a 'human' intelligence.
(CONTINUED)
- - -
49.
112 (CONTINUED)
CARL
(earnestly)
Then - what on earth kind of in-
telligence <u>is</u> it, Sir Ian?
SIR IAN
Perhaps not 'on earth' at all.
Perhaps it comes from <u>beyond</u>
the earth!
113 REACTION SHOTS - MEMBERS OF THE GROUP - PANNING OVER
FACES
As they savor this alarming postulation.
114 TWO SHOT - REEF AND CARL
Carl looks at him uncertainly. Reef asks grimly:
REEF
Can anything be done about it?
115 THREE SHOT - KENT, WENDOVER AND SIR IAN
Sir Ian looks thoughtfully at the chart.
SIR IAN
I've been thinking about that.
(tapping the chart)
These appearances of...whatever
we're dealing with...make almost
a complete ring around the Pole.
But there is what <u>may</u> be a signifi-
cant gap, or break, in the ring...
116 INSERT - CLOSEUP - THE CHART
Which centers, now, on the region in question, which
Sir Ian's dialogue describes:
SIR IAN O.S.
...right here...the Queen Victoria
Sea area, near Franz Joseph Land...
- - -
50.
117 GROUP SHOT
As Sir Ian looks up from the chart, but Captain Wendover
continues to study it absorbedly.
SIR IAN
(continuing)
...above Murmansk, and Finland.
KENT
(looking at
Wendover)
Suppose our theorizing is correct?
Then this <u>could</u> be the next danger
point!
SIR IAN
What if the Tiger Shark were to
anticipate a bit? Perhaps be
lying there waiting - ?
Wendover frowns, intrigued by the possibility. Wen-
dover beckons Reef over to the chart:
WENDOVER
We'll chart a course straight
across the pole - to bring us
<u>here</u> -
(he looks up into
the tense faces)
- the Queen Victoria Sea!
Sir Ian and Kent exchange a look. Reef looks at Carl,
who frowns tensely.
DISSOLVE TO:
118 (OMITTED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 51-52
119 INSERT - ANIMATED MAP OF POLAR REGION
And now the progress line of the Tiger Shark's voyage
moves directly across the Pole. As it reaches the
Pole, a sign <u>pops in</u>: JUNE 1, 0730
NARRATOR
So - swiftly, implacably, the
Tiger Shark moved across the
Top of the World towards her
rendezvous with...what?
DISSOLVE TO:
120 SPECIAL EFFECT SHOT - TIGER SHARK UNDER THE ICE
OMIT
121
122
123 INT. CONTROL ROOM - DAY - INSERT - CLOSE SHOT -
POLAR CHART
As Dave's hands point out their position, course, and
destination.
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 53-54
123 (CONTINUED)
DAVE O.S.
We've been heading due south, 30
degrees longitude. By my reckoning
we're about ten angular seconds...
124 GROUP SHOT - DAVE REEF WENDOVER SIR IAN
About Dave's navigator position.
DAVE
(continuing)
...short of the Arctic meridian, and
that should be...
SIR IAN
(picking it up)
...the critical point - <u>if</u> we're on
the right track.
WENDOVER
Prepare to surface. We'll run at
flank speed.
OMIT
125-128
129 SPECIAL EFFECT SHOT - TIGER SHARK UNDERWATER
It picks up speed, rises towards the surface.
DISSOLVE TO:
130 STOCK SHOT - BOW OF SUB BREAKING SURFACE
OMIT
131
132 GROUP SHOT - INT. CONTROL ROOM - AT TV SCREEN - DAVE,
REEF, OPERATOR, WENDOVER, SIR IAN
There is a shout from the operator at the TV screen.
OPERATOR
Mr. Milburn - quick - look at
this!
They all move quickly to the TV screen.
- - -
REVSIED 5-26-59 "ATOMIC SUBMARINE" 55.
133 SPECIAL EFFECT SHOT - ICEBERG IN WATER - ON TV SCREEN
We see a giant iceberg in the water.
134 REACTION SHOT - GROUP
135 SPECIAL EFFECT SHOT - THEIR P.O.V. - THE ICEBERG -
ON TV SCREEN
Now we see what appears to be a strange glow of
energy in the water beneath it. The iceberg seems
to creak and groan from internal pressures.
136 CUTS TO COVER - THE CATACLYSM - SPECIAL EFFECT SHOT
As the ball of energy seems to melt, rend and then
literally explode the huge mass of ice. The iceberg
disintegrates and great masses of ice rush away from
the explosion center.
137 SPECIAL EFFECT SHOTS - CLOSER CUTS, THE RUSHING ICE
- - -
56.
138 INT. CONTROL ROOM - AT TV SCREEN
As Reef yells:
REEF
Skipper! Those chunks of ice -
coming right at us!
The Skipper reacts, instantly yells:
WENDOVER
Dive! Dive!
139 (OMITTED)
140 INT. TIGER SHARK - STOCK SHOTS - ABOUT BOAT
During emergency dive procedure. THE DIVE ALARM is
sounding.
141 REACTION SHOTS - PASSENGERS
Carl, Sir Ian and Dr. Kent.
142 SPECIAL EFFECT SHOT - TIGER SHARK
As it institutes emergency dive, begins to move beneath
the waves. This INTERCUTS WITH:
143 SPECIAL EFFECT SHOT - LARGE CHUNK OF ICE
It rushes at express train speed directly toward Tiger
Shark.
144 INT. CONTROL ROOM - DAY - FULL SHOT
The Captain, Reef, and Dave and the crewmen work des-
perately to get their sub into the safety of the depths.
But now Dave, at the TV view screen, reacts in a frenzy
to what he sees:
DAVE
Captain! Come here!
But the Captain is too busy.
- - -
57.
145 SPECIAL EFFECT SHOT - UNDERWATER - ICE AND SUB
As the Tiger Shark has almost made it to safety, the
great bulk of rushing ice lurches into frame, and just
collides with the stern of the Tiger Shark. There is
a great CLANGING SHOCK and the Tiger Shark staggers
like a stricken fish, then quickly rights herself.
But the screws slow down, then stop.
146 INT. CONTROL ROOM - DAY - FULL SHOT
Overlapping action above, as the scene LURCHES, and the
men strive to maintain their balance. Dave is still
oblivious to everything except what he sees on the
screen.
WENDOVER
(snaps, to Reef)
Determine extent of damage,
immediately.
REEF
(grabbing an
intercom phone)
After torpedo room: Report!
GRIFF'S VOICE
(over intercom)
This is Griff, Captain. Moderate
leak in overhead plates. Damage
to main drive shaft housing.
Forced to stop reactor engines.
REEF
We're dead in the water!
DAVE
(insistently)
Skipper! You've <u>got</u> to see this!
You too, Sir Ian!
Wendover and Sir Ian exchange a look, then move over
behind Dave, look over his shoulder, react in astonish-
ment.
WENDOVER
Well, I'll be - !
SIR IAN
(wryly)
I'll be another!
- - -
58.
147 SPECIAL EFFECT SHOT - ON TELEVISION SCREEN
On the screen is a great, oval-shaped, glowing ellipse-
saucer-shaped. It is perhaps three-hundred feet in
diameter. On top is a great, blazing turret of light,
remotely resembling a lighthouse beacon - seemingly the
'eye' of the thing. Beneath it are some sort of pro-
tuberances, perhaps a landing or settling gear. While
they watch, the disc begins to recede from them.
148 THREE SHOT - WENDOVER, SIR IAN, DAVE
And then Reef joins them.
REEF
What is it?
And then he catches sight of the thing on the view-
screen, frowns tensely.
149 SPECIAL EFFECT SHOT - THE TV SCREEN
And now the saucer grows smaller and smaller, until
finally it is only a point of light.
150 GROUP SHOT - UP INTO FACES
WENDOVER
(snaps)
Course and speed?
DAVE
(adjusting dials)
Speed...about twenty-two knots.
Course...due north!
SIR IAN
(a thoughtful murmur)
Directly towards the Pole!
They look at him, trying to fathom his thoughts.
DISSOLVE TO:
151 INT. CREW DINING ROOM - DAY - GROUP SHOT - ABOUT GRIFF,
CHESTER, POWELL AND CARNEY
Griff, in his undershirt, covered with grease and dirt,
has obviously been laboring mightily at the damage.
(CONTINUED)
- - -
5-27-59 "ATOMIC SUBMARINE" 59.
151 (CONTINUED)
Powell and Carney are getting into full aqualung gear,
including black rubber suits. Griff looks them over.
GRIFF
Okay - you two flounders look
about set.
(he hefts the air tanks
on Powell's back and
admonishes)
And remember - this ain't no swimming
pool - we need a damage report!
POWELL
(mutters)
See what I mean about volunteering -
But before he can finish the sentence, Griff pulls the
face mask down over his nose and mouth. Powell and
Carney exit toward the stern.
152 INT. WARD ROOM - DAY - CLOSE SHOT - DRAWING OF SAUCER -
ON TABLE TOP
With Sir Ian's hand, holding a pencil, completing the
sketch.
SIR IAN O.S.
...a pure oval shape, with this
cyclops-like eye, or turret, on
top. I'd estimate its diameter
at 300 feet. No discernible ori-
fices...
153 GROUP SHOT - ABOUT TABLE - TOWARD DOOR
This is a discussion group, or 'seminar' - and in the
group are Sir Ian, Carl, Reef, Dave and Wendover. Sir
Ian leans back, holding the pencil, while his sketch
is passed around from one to the next. With a faintly
amused expression, Sir Ian murmurs thoughtfully:
SIR IAN
'The Eye of Cyclops..!'
CARL
(looking up from the
drawing)
What did you say, Sir Ian?
(CONTINUED)
- - -
60.
153 (CONTINUED)
SIR IAN
Just musing about our 'one-eyed
adversary' and the legend of
Homer.
(to the group)
'Cyclopes' were the Sons of
Heaven, who forged the thunder-
bolts thrown by Zeus.
WENDOVER
(grimly)
Our 'Cyclops' throws quite a
thunderbolt, itself!
Now Dr. Kent appears in the doorway, carrying a well-
filled briefcase, from which he has extracted a manila
folder.
KENT
(with satis-
faction)
I knew there was something
familiar -
He puts down the briefcase, takes an 8 x 10 photograph
from the manila folder, then lays the folder aside.
He tosses the photograph on the table.
KENT
Take a look.
They peer at it curiously, then someone lays Sir Ian's
sketch alongside it.
154 INSERT - CLOSEUP - THE PHOTO AND SKETCH
And we see that the object in the photo - a 'flying
saucer' - closely resembles the sketch.
KENT O.S.
The picture was taken by an
amateur astronomer, over
New Mexico.
155 GROUP SHOT
As all examine the photos, astonished.
(CONTINUED)
- - -
61.
155 (CONTINUED)
KENT
I've had it since I served
on the Air Force Evaluation
Board, for UFO reports.
As Sir Ian looks up inquiringly, Carl explains:
CARL
Unidentified Flying Objects.
REEF
(incredulously)
Then...this is a 'flying
saucer?'
KENT
That was the popular designation.
CARL
(curiously)
But...weren't all the sightings
in the sky - not under water?
Sir Ian picks up the photo, studies it as he reflects:
SIR IAN
This would explain why there
were never any reports of land-
ings. It's possible that who-
ever - or whatever - inhabits
the craft is not a land creature,
but a form of marine life.
DAVE
(a wry smile)
That would make our 'little green
men' actually 'little grean fish'???
REEF
(shakes his head,
marvelling)
Undersea flying saucers!
156 SHOOTING PAST GROUP - TOWARD DOOR
as Griff appears in it, dishevelled as before, but with
a look of satisfaction. He makes a gesture of knocking,
says:
(CONTINUED)
- - -
62.
156 (CONTINUED)
GRIFF
Excuse me, Skipper---
WENDOVER
Yes, Griff?
GRIFF
All internal repairs completed,
and Frogmen report exterior
damage minor.
REEF
(with eager
satisfaction)
Then we can get under way?
As Griff nods, all look toward Wendover for orders.
WENDOVER
(snaps at Dave)
You plotted the course of
Cyclops?
(as Dave nods)
Then that's <u>our</u> course! Wherever
<u>he</u> goes, <u>we</u> go.....until we get
him!
SIR IAN
(an absent murmur)
Or, perhaps, until he gets us?
A look passes among them; that possibility is by no
means remote.
DISSOLVE TO:
157 INSERT - ANIMATED MAP OF POLAR AREA
with the Tiger Shark course moving back and forth, up and
around, the Pole.
NARRATOR
So, the Tiger Shark began
relentlessly stalking her
space-enemy. Up to the Pole,
back to the Arctic Circle...
again, and again...a week...
a fortnight, a month....
DISSOLVE TO:
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 63.
158 SPECIAL EFFECT SHOT - THE TIGER SHARK
moving implacably through undersea caverns, between
hidden mountains, under glaciers, etc.
(Omit semi-montage about Tiger Shark).
DISSOLVE TO:
159 INSERT - ANIMATED MAP OF POLAR AREA
And now the lines for the voyage make up almost
a star-design about the Pole, up and back, to all
quarters.
Over these scenes:
NARRATOR
Never a glimpse of their enemy,
but there were reports...new disasters,
new ships and lives lost. Invariably,
the Tiger Shark made for the scene,
only to arrive after Cyclops had left.
For all its desperatian, the pursuit
seemed fruitless.
160 SPECIAL EFFECT SHOT - TIGER SHARK CRUISING THROUGH ICE
NARRATOR
Then, on July 3, Dr. Kent and Sir
Ian held an urgent discussion with
Reef and the Skipper...
161 INT. WARD ROOM - NIGHT - CLOSE DOWN SHOT - CHART OF
VOYAGE
which appears like a great star - away from the Pole,
back to it - away - back, as in the animated chart
earlier. Now Kent's voice, desperately urgent, comes
(CONTINUED)
- - -
64.
161 (CONTINUED)
over, as his hand taps a pencil repeatedly directly on
the Pole.
KENT (o.s.)
<u>Why</u> does Cyclops invariably
return to the Pole between
attacks - <u>never</u> two in
succession. Always away...
and back....away....and
back....
162 GROUP SHOT - KENT, REEF, WENDOVER AND SIR IAN
about the chart.
SIR IAN
We've asked ourselves that -
over and over - a thousand
times.
WENDOVER
(irritably)
But <u>answers</u> are what we need
- not more questions!
KENT
(significantly)
We think maybe, now, we <u>have</u>
them!
Reef and Wendover react.
KENT
We took for granted his source
of energy was nuclear. But
suppose it isn't at all - what
if it's <u>magnetic</u>?
SIR IAN
<u>We</u> harness energy on a small
scale by cutting magnetic lines
of force. Maybe Cyclops does
it on a <u>super</u> scale....
KENT
(significantly
again)
The North Pole is the positive
end of the biggest magnet of
all - the Earth itself!
- - -
65.
163 TWO SHOT - REEF AND WENDOVER
Wendover considers this gravely as Reef responds:
REEF
What you're getting at: You
think our saucer-friend <u>has</u>
to return to the Pole, regularly
to....recharge his batteries?
164 TWO SHOT - SIR IAN AND KENT
SIR IAN
That may be over-simplifying,
but---
He doesn't finish the sentence, obviously implying that
Reef's conclusion agrees with their own.
KENT
Now: Our present tactics are
hopeless. But suppose we
could place ourselves <u>between</u>
Cyclops and the Pole....
165 GROUP SHOT
as Sir Ian picks up Kent's thought:
SIR IAN
....in such a way as to prevent
his returning to it and, as you
put it....
(a nod toward
Reef)
...'recharging his batteries'?
KENT
If we were lucky enough to catch
him with his power depleted....
WENDOVER
(triumphantly)
....we could polish him off with
an atomic fish!
(claps Reef on
the shoulder)
That's it, Reef! We'll wait until
the next report of trouble. Then
we'll lay on the bottom, right in
his path, and bushwack him!
(CONTINUED)
- - -
66.
165 (CONTINUED)
SIR IAN
(frowns, puzzled)
'Bushwack?'
REEF
(a faint smile)
American tactical expression.
And as Reef and Wendover exchange a look, we...
DISSOLVE TO:
166 SPECIAL EFFECT SHOT - TIGER SHARK
cruising at slow speed under the ice.
NARRATOR
So - a chance of tactics. Now
the Tiger Shark cruised almost
over the North Pole, waiting
for the radio report that would
put the plan into effect...
On July 13, at 1600 hours, it
came!
167 INT. WARD ROOM - DAY - MED. SHOT - REEF
drinking coffee. Behind him, now, we see Dave burst
in excitedly from passage way.
DAVE
We got it, Reef!
Reef springs to his feet excitedly.
REEF
Cyclops?
DAVE
Sounds like it! Distress call,
from a small freighter, between
Ellesmere Island and Greenland.
One mayday, then...nothing.
As Reef moves toward the door, he demands:
REEF
Where's the Skipper?
(CONTINUED)
- - -
67.
167 (CONTINUED)
DAVE
Already in the Con!
The two men exit. Now CAMERA ROLLS IN FOR CLOSEUP OF
CARL, who, standing in the door, has overheard the
conversation.
DISSOLVE TO:
168 INT. CONTROL ROOM - NIGHT - GROUP SHOT - WENDOVER, DAVE,
REEF, KENT AND SIR IAN
Dave is working over his navigation chart. The tension
in the Con is electric. Dave takes a compass, swings a
pair of arcs on the chart, looks up to announce:
DAVE
We're here!
Wendover and the others cluster around.
WENDOVER
You're sure?
Dave indicates on the chart.
169 INSERT - THE POLAR CHART
with a distinct line drawn from the reported sinking to
the Pole and another line...the course of the Tiger
Shark, just now intercepting it.
DAVE (o.s.)
Here's where Cyclops knocked
off the freighter. Here's the
way he has to head for home...
the Pole. And...
(indicates the
intersection)
Here <u>we</u> are...right in his path!
170 GROUP SHOT
WENDOVER
(decisively)
All right, then we're for it,
right here. Sonar and TV, scan
the bottom, find a nice spot for
us to lie and wait for him --
maybe a cave, or a valley.
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 68-69-70
170 (CONTINUED)
WENDOVER (cont'd)
(to Reef)
Soon as we're on the bottom, go
through the boat, batten down
whatever makes a noise, and turn off
anything that hums or buzzes. I
want absolute silence!
They AD LIB further commands and movement about the
con as we...
DISSOLVE TO:
171 SPECIAL EFFECT SHOT - THE TIGER SHARK
as she eases her way deep under the ice, sonar PINGS
probing the way. At last, she eases down onto the
bottom in a hallow, or undersea cave. The propellers
are still, the ship lies silent, motionless, seemingly
dead.
DISSOLVE TO:
OMIT
172
173
174
175 SPECIAL EFFECT SHOT - TIGER SHARK ON BOTTOM
There is no sign of life whatever.
(CONTINUED)
- - -
71.
175 (CONTINUED)
NARRATOR
Hour upon hour, the Tiger Shark
lay in its deep-six ambush...
The Arctic depths were as still
and silent as an uninhabited
world. Then, at 0600 hours....
DISSOLVE TO:
176 INT. CONTROL ROOM - DAY - TRUCKING AND PANNING ABOUT
THE CON
We see Kent and Sir Ian, dozing in their chairs. Wendover
himself is nodding. Now CAMERA MOVES to Dave, who yawns
prodigiously, reaches for his coffeecup, finds to his dis-
gust that it is empty. Then, almost absent-mindedly, he
glances teward the gauges and view-plates. He reacts.
177 INSERT - CLOSE UP - METER
which is labeled: RADIATION LEVEL. The needle-flickers,
makes a slight jump, then rises to a positive reading.
178 CLOSE SHOT - DAVE
He reacts, all attention now. He turns dials to get a
bearing on the source of radiation. Then he swings around
in his chair to the television monitor, moves the dials to
focus the TV camera in the direction of the radiation.
179 SPECIAL EFFECT SHOT - OPTICAL SHOT OF TV SCREEN
And very faintly, in the extreme distance, we see a tiny
speck of light growing slowly larger.
180 PAST DAVE - AT OTHERS
as Dave calls in a sharp whisper:
DAVE
Skipper! Dr. Kent!
Instantly, the men come alert, move over behind him.
WENDOVER
What is it?
(CONTINUED)
- - -
72.
180 (CONTINUED)
In answer, Dave points to the view screen. Both men re-
act, exchange a look.
KENT
That's him! Has to be!
DAVE
(checking dials)
Range, about twenty-two miles.
Speed....I give it fourteen
knots.
KENT
(checking in-
struments)
His radiation level is very
low!
(to Wendover)
That would confirm our theory -
about having to return to the
Pole!
WENDOVER
(grimly)
It <u>better</u> be correct!
(to Dave)
Get me a setup on the TDC -
range, about seven miles!
181 FULL SHOT - THE CONTROL ROOM
As Wendover moves to the intercom, Dave goes to work on
the torpedo data computer. Sir Ian and Kent study the
instruments.
WENDOVER
(into phone)
Skipper to Exec: Arm atomic
warheads! Load 1 and 2...
Report to Con pronto!
Part of the above overlaps following:
182 INT. TORPEDO ROOM - DAY - GROUP SHOT - REEF, GRIFF
AND DETAIL
As the VOICE comes over the intercom, Griff reacts,
looks at Reef:
(CONTINUED)
- - -
73.
182 (CONTINUED)
GRIFF
Sounds like we mean business!
Reef doesn't deign to answer. He gestures to Griff:
REEF
Griff, you arm No. 2. I'll
handle No. 1.
Griff nods, moves over to one of the panel boards and
starts manipulating it. Meantime, Reef is doing the
same thing on another panel.
183 CUTS TO COVER - THIS ACTION
thru
183-C
184 SHOOTING OVER TORPEDO CONTROL PANELS - AT REEF, GRIFF
AND DETAIL
As the arming is finished, and Reef moves from dials.
REEF
Load One and Two. Then open
outer doors!
(grimly)
And stand by for action!
Reef hurries to the far end of the torpedo room, and be-
gins climbing the ladder. He glances back to see that
Griff and another man are manipulating dials to open
the inner tube doors.
DISSOLVE TO:
185 SPECIAL EFFECT SHOT - EXT. OF TIGER SHARK - CLOSE ON
TORPEDO TUBES
as we see the outer doors slowly lift, disclosing the
torpedo warheads inside.
186 INT. CONTROL ROOM - DAY - FULL SHOT - PAST DAVE IN F.G.
as Dave sings out:
(CONTINUED)
- - -
74.
186 (CONTINUED)
DAVE
Range: Now fifteen miles!
Now Reef climbs up into the con, demands:
REEF
You're sure it's Cyclops?
WENDOVER
(gesturing toward
TV screen)
Take a look.
Reef comes over, stares, fascinated, down over Dave's
shoulder.
187 SPECIAL EFFECT SHOT - OPTICAL SHOT - VIEW SCREEN
And now, in the TV screen, we can just make out the
faint outlines of the approaching saucer - the oval
shape, the glowing turret-eye. O.s., Dave now sings
out:
DAVE (o.s.)
Range...now 14.5 miles.
188 TWO SHOT - DAVE AND REEF
as they look down anxiously at the screen. Now there
is a VOICE over the intercom:
GRIFF (o.s.)
(filter)
Griff to Skipper. Tubes One
and Two loaded. Outer doors
open. Ready to fire.
WENDOVER (o.s.)
(obviously into
phone)
Stand by!
WIPE TO:
189 (OMITTED)
- - -
75.
190 SPECIAL EFFECT SHOT - THE CYCLOPS - MOVING TOWARD CAMERA
Through an undersea valley, the Cyclops moves silently,
its glowing eye probing ahead for possible danger.
191 SPECIAL EFFECT SHOT - THE TIGER SHARK
still lying silently, in wait.
192 SPECIAL EFFECT SHOT - CYCLOPS - MOVING DIRECTLY TOWARD
CAMERA
It is approaching very near, now.
193 INT. CONTROL ROOM - DAY - TRUCKING AND PANNING - OVER
FACES
ENDING on Dave and Reef. Now Dave sings out:
DAVE
Range....ten miles!!
194 SPECIAL EFFECT SHOT - OVER TIGER SHARK - AT CYCLOPS
This is the first tie-in shot, showing the relative posi-
tions of the two craft. The Cyclops should still be a
considerable distance away - merely a glowing spot in the
water.
195 INT. TORPEDO ROOM - DAY - PANNING OVER TENSE FACES OF
TORPEDO DETAIL - ENDING ON GRIFF
Griff stands near the firing buttons for tubes One and
Two - clearly labeled. The tension is building.
196 INT. CONTROL ROOM - DAY - CLOSE SHOT - VIEW SCREEN -
SPECIAL EFFECT SHOT
And on it, we see that Dave has adjusted cross-hairs for
the Target Zero. The saucer moves across the view
screen, toward the Target Zero.
DAVE (o.s.)
Range...eight miles....
Seven and three-quarters.....
- - -
76.
197 SPECIAL EFFECT SHOT - CYCLOPS
It looms huge and awesome IN CAMERA, now, sweeps by and
above CAMERA and o.s. There is an awful RUSHING SOUND
as it sweeps overhead.
198 INT. CONTROL ROOM - DAY - SHOOTING PAST DAVE AND REEF -
AT OTHERS
as Dave sings out:
DAVE
Zero minus ten....nine....
199 SPECIAL EFFECT SHOT - OPTICAL SHOT - VIEW SCREEN
The Cyclops approaches closer and closer to the 'x.'
DAVE (o.s.)
....eight...seven.....six....
five....
200 INT. CONTROL ROOM - DAY - SHOOTING PAST DAVE AND REEF -
AT OTHERS
DAVE
....four....three....two....
201 SPECIAL EFFECT SHOT - OPTICAL SHOT - VIEW SCREEN
And now the Cyclops moves directly into the cross of the
'x.'
DAVE (o.s.)
....one....Target.....
202 INT. CONTROL ROOM - DAY - SHOOTING PAST DAVE AND REEF -
AT GROUP
DAVE
(excitedly)
Zero!
WENDOVER
(barks into
intercom)
Fire Number One!
- - -
77.
203 INT. TORPEDO ROOM - DAY - MED. SHOT - GRIFF AND OTHERS
as Griff moves swiftly, presses the firing lever, then
barks into intercom:
GRIFF
Number One fired!
204 SPECIAL EFFECT SHOT - CLOSE ON TORPEDO TUBE
as the first torpedo bursts out and speeds away toward
target.
205 INT. CONTROL ROOM - DAY - GROUP SHOT
WENDOVER
(into intercom)
Fire Number Two!
206 INT. TORPEDO ROOM - DAY - MED. SHOT - GRIFF AND OTHERS
Griff fires Number Two, then reports:
GRIFF
Number Two fired!
207 SPECIAL EFFECT SHOT - CLOSE ON TORPEDO TUBE
as the second torpedo shoots from its tube after the
first.
208 SPECIAL EFFECT SHOT - TYING TIGER SHARK AND CYCLOPS
And now we see the two torpedos, executing a great
curving arc, 'homing' on their target. They are
still a considerable distance from it.
209 SPECIAL EFFECT SHOT - CLOSE ON TWO TORPEDOS
as they WHOOSH BY CAMERA, speeding toward their target.
210 INT. CONTROL ROOM - DAY - TIGHT SHOT - ABOUT DAVE AND
WENDOVER
Wendover checks his watch, demands of Reef:
(CONTINUED)
- - -
78.
210 (CONTINUED)
WENDOVER
What's the running time?
REEF
(checking TDC)
Thirty-four seconds!
All wait, tense, breathless, expectant.
211 REACTION SHOTS - ABOUT SUB
(A) CONTROL ROOM
(B) TORPEDO ROOM
(C) CREW QUARTERS
Carl, the crew, Griff and others, all silently counting
the seconds.
212 SPECIAL EFFECT SHOT - THE SAUCER
Now the luminous eye seems to turn to observe the ap-
proaching menace. There is a THROBBING BUZZ as of an
energy discharge, and then the first torpedo comes in
scene, seems to swerve to avoid the Cyclops, goes
plunging on past it and o.s.
213 INT. CONTROL ROOM - DAY - SHOOTING PAST DAVE - AT VIEW
PLATE - AT OTHERS
as Dave, agony and disappointment in his tone, calls:
DAVE
Number One...Missed!
There is an AD LIB response of shock. Then Wendover
complains to Reef:
WENDOVER
How could it? We were dead on
target, with a homing torpedo!
214 SPECIAL EFFECT SHOT - THE SAUCER - CLOSE
Now, from some vent within the vehicle, a cloud of radi-
ant, luminescent 'jelly' seems to stream out, enveloping
it in a protective cloud. Just as the cloud is well-
formed about the saucer, obscuring its outlines...
215 SPECIAL EFFECT SHOT - CLOSE ON SECOND TORPEDO
It plunges through scene and off towards the saucer.
- - -
79.
216 SPECIAL EFFECT SHOT - AT SAUCER
as the second torpedo burrows into the protective cloud,
more and more slowly, probing vainly toward the still-
visible 'eye.' Then...
217 SPECIAL EFFECT SHOT - CLOSE ON TORPEDO
as it buries itself in the mass of luminescent jelly.
The propellers thrash madly, ineffectually. Then,
gradually, they slow down, and the torpedo is completely
surrounded by the mysterious mass.
218 INT. CONTROL ROOM - DAY - SPECIAL EFFECT SHOT - INSERT -
THE TV SCREEN - OPTICAL SHOT
AND OVERLAPPING ACTION ABOVE, we see the torpedo slow
down and stop, buried in the mass surrounding the saucer.
DAVE (o.s.)
Skipper - look at this!
219 TIGHT GROUP SHOT - LOW ANGLE - UP INTO FACES
as Reef, Wendover, Kent and Sir Ian cluster tightly
about Dave. Carl enters from the hatch, joins them.
DAVE
(pointing)
A mass of jelly-like stuff came
out of the thing, and caught our
torpedo!
WENDOVER
(exclaims)
What???
Kent frowns, points.
KENT
It must function like a de-Gaussing
field.
(dubiously)
We'll never get a torpedo through
that!
Now Wendover's jaw sets grimly.
WENDOVER
Maybe not a <u>torpedo</u>...
They look at him as he moves o.s. to the intercom.
- - -
80.
220 CLOSE SHOT - WENDOVER
as he barks into the intercom:
WENDOVER
This is the Captain: Blow bow
tanks. Reactor Room, stand by:
Soon as we're off the bottom,
I want all ahead, flank speed,
pronto!
221 FULL SHOT - THE CONTROL ROOM
as Dave asks alertly:
DAVE
What course, Skipper?
WENDOVER
(with grim purpose)
Right at our one-eyed friend!
There are AD LIB surprised exclamations from all. Reef
is incredulous:
REEF
Right <u>at</u> him?
WENDOVER
That's what I said!
REEF
But - what can we accomplish?
WENDOVER
We can <u>ram</u> him!
The others exchange quick, frightened looks. Dave is
incredulous. Carl moves over to Wendover, admonishes
quietly:
CARL
You've weighed the consequences,
Captain - the lives involved?
Reef glares at him.
WENDOVER
Doctor -- I've weighed the lives
Cyclops has taken, already...and
<u>will</u> take, in the future, unless
<u>we</u> can stop him, now!
(CONTINUED)
- - -
81.
221 (CONTINUED)
CARL
We might find other means...
WENDOVER
<u>What</u> other means? If the Tiger
Shark can't destroy him, no power
on <u>Earth</u> can! Now brave yourselves!
Carl subsides, catches Reef's eye, looks away.
222 REACTION SHOTS - THE MEN
223 INSERTS - HANDS PULLING CONTROL LEVERS
These INTERCUT with faces, above.
224 SPECIAL EFFECT SHOT - THE TIGER SHARK - ON BOTTOM
Now it begins to rise slowly from its bed in the depths.
Water pours from the ballast tanks. Then, with the boat
floating free in the water...
225 SPECIAL EFFECT SHOT - CLOSE SHOT - SCREWS
as they begin to churn, picking up speed, then, finally,
churn the water into a foamy wake.
226 SPECIAL EFFECT SHOT - THE TIGER SHARK
Like a great, predatory fish, it rises from the bottom,
moving more and more swiftly. It makes a great climbing
turn directly TOWARD CAMERA, then goes overhead and out,
speeding toward the saucer.
227 INT. CONTROL ROOM - DAY - REACTION SHOTS - PRINCIPALS
They are all braced against the impending crash.
228 CLOSE SHOT - WENDOVER
as he speaks into the intercom.
WENDOVER
This is the Captain! All crew
members take collision stations!
- - -
82.
229 (OMITTED)
230 INT. FORWARD TORPEDO ROOM - DAY - MED. FULL SHOT
as Griff AD LIBS orders for the men to lie in their
bunks, brace themselves against structural members,
etc.
231 SPECIAL EFFECT SHOT - TIGER SHARK
It has climbed to a level with the saucer, now levels
off. It is picking up speed.
232 INT. CONTROL ROOM - DAY - CLOSE SHOT - DAVE
He adjusts the TV view screen, tenses for the shock.
Reef appears just behind him. They exchange a grim
look, then eye the screen, fascinated.
233 SPECIAL EFFECT SHOT - OPTICAL SHOT - THE TV SCREEN
Now we see the saucer looming up hugely, directly ahead.
234 CLOSE THREE SHOT - WENDOVER, KENT AND SIR IAN
as we hear Dave's voice:
DAVE (o.s.)
Stand by -- five seconds...four...
three...two...
235 SPECIAL EFFECT SHOT - SAUCER AND TIGER SHARK
as they meet. The Tiger Shark plows into the protective
jelly, which slows but cannot stop the juggernaut.
236 CLOSER CUTS - TIGER SHARK
plowing into the protective jelly.
237 FULL SHOT - THE CRASH
as the Tiger Shark, unstoppable, plows inexorably through
the protective coating, slams against the saucer itself,
(CONTINUED)
- - -
83.
237 (CONTINUED)
then buries its bow deep within the Cyclops - like a har-
poon driving into a huge creature of the depths. Perhaps
a third of the Shark's length is driven deep into the
saucer. Tremendous RENDING, TEARING NOISES accompany the
crash, after which...complete, eerie silence.
238 CLOSER CUTS - THE CRASH
As the bow rends the outer envelope of the saucer, the
screws of the Tiger Shark churn powerfully against the
restraining jelly...then a CLOSE SHOT of the Cyclops'
'eye' shows the glow diminishing.
239 INT. CONTROL ROOM - DAY - SPECIAL EFFECT SHOT - OVER
DAVE'S SHOULDER - AT TV SCREEN
And we see the situation, that the nose of the Shark is
buried deep within the saucer.
DAVE
(triumphantly)
We <u>got</u> him, Skipper - drove right
into him!
240 GROUP SHOT - ABOUT DAVE - UP INTO FACES
as Wendover manages a grim, satisfied smile. Kent and
Sir Ian eagerly check the view plate, and the gauges.
REEF
Speared him like a fish!
Wendover moves to the intercom, announces:
WENDOVER
This is the Skipper! We did it,
men! Drove right through the
saucer's hide!
241 REACTION SHOTS - ABOUT THE SUB
(A) CONTROL ROOM
(B) TORPEDO ROOM
(C) CREW'S QUARTERS
as the men cheer.
- - -
84.
242 INT. CONTROL ROOM - DAY - FULL SHOT
WENDOVER
(smiling)
We'd better wiggle loose.
(speaks into
intercom)
Reactor Room: I want all re-
verse, full!
243 SPECIAL EFFECT SHOT - TIGER SHARK AND CYCLOPS
Jammed together, they are sinking slowly in the water.
244 CLOSER SHOTS - THE PROPELLERS
Overcoming the initial resistance of the jelly, they
begin slowly turning.
245 FULL SHOT - TIGER SHARK AND CYCLOPS
It is obvious, now, that they are headed for the
bottom.
246 INT. CONTROL ROOM - DAY - FULL SHOT
The room seems to vibrate as the mighty atomic reactor
turbines exert full power on the propellers. Then Reef
shakes his head, discouraged.
REEF
We're stuck tight!
DAVE
(alarmed)
Skipper! Look at the depth
gauge!
Wendover comes over, peers over Dave's shoulder.
- - -
85.
247 INSERT - CLOSE UP - DEPTH GAUGE
The dial moves rapidly. Now it is at 175 fathoms, rapid-
ly moves to 180.
248 PAST DAVE AND WENDOVER - AT OTHERS
as Wendover, momentarily puzzled, remarks:
WENDOVER
A hundred and eighty fathoms!
We can't be sinking that
fast....
REEF
(coming over)
It's the screws, Skipper.
(gestures to
explain)
At our declination angle,
running in reverse, they're
pulling the Shark <u>and</u> Cyclops
right to the bottom.
WENDOVER
(frowns at gauge)
And we're at safe maximum
depth already....
(then barks
and order)
Stop engines!
Reef repeats the command into the intercom:
REEF
Stop engines!
249 SPECIAL EFFECT SHOT - CYCLOPS AND SHARK
sinking through the water, pulled lower and lower by
the Shark's engines. Now the propellers stop. The
two craft still continue sinking, but more slowly now.
SLOW DISSOLVE TO:
250 INSERT - WENDOVER'S HAND WRITING IN LOG
as the hand records: JULY 15, 10:00 HOURS. NOW LYING
ON BOTTOM, LOCKED TO CYCLOPS, 200 FATHOMS.
(CONTINUED)
- - -
86.
250 (CONTINUED)
NARRATOR
Hours later, the two titantic
craft were still locked to-
gether in an apparent death
grip...
DISSOLVE TO:
251 SPECIAL EFFECT SHOT - TIGER SHARK AND CYCLOPS
lying on the ocean bottom, still with the Shark jammed
into the saucer.
NARRATOR
(continuing)
...on the bottom of the Arctic
Ocean, nearly twelve hundred
feet below the surface!
DISSOLVE TO:
252 INT. WARD ROOM - DAY - GROUP SHOT - ABOUT TABLE
Present are Wendover, Carl, Reef, Kent, Sir Ian and Dave.
This is a grim, hopeless conclave. The silence, except
for a faint trickle of water somewhere, is complete,
eerie, ghastly. Faces are bathed in tense perspiration.
Wendover shakes his head.
WENDOVER
If anyone has <u>any</u> more ideas...
I'll try anything, before just
lying here, waiting to die!
Now Reef explains an idea he has been toying with:
REEF
Suppose there's an atmosphere,
of some kind, inside Cyclops?
WENDOVER
(blankly)
What?
REEF
(to the group)
If we could get inside the saucer
- use our torches - maybe we could
cut the Shark loose?
(CONTINUED)
- - -
87.
252 (CONTINUED)
SIR IAN
That's all very fine, young man.
But how would one go about <u>get</u>-
<u>ting</u> inside Cyclops?
Reef takes a deep breath, throws a glance at Carl, then
says:
REEF
Through the eye - with the
Depth-Explorer!
Carl seizes this eagerly.
CARL
Yes - the Explorer was <u>built</u> to
operate at even greater depths --
WENDOVER
(disturbed)
But suppose there isn't an atmos-
phere inside the saucer?
REEF
(bluntly)
Then the idea's no good. But
we're no worse off than we are
right now.
Dave picks this up eagerly.
DAVE
You've got to let us try, Skipper --
REEF
(startled)
'Us?'
DAVE
(ignoring him)
Reef and I can take the Explorer
down, clamp it around the eye,
and ---
CARL
(firmly)
No, you can't. But <u>I</u> can --
(to Reef)
I can deliver you to the eye.
Then you --
(CONTINUED)
- - -
87-A
252 (CONTINUED - 2)
REEF
(sneeringly)
Little out of your line, isn't
it? You better stay aboard and
make a speech -- maybe get 'em
to ban flying saucers!
Carl bridles angrily.
CARL
That's enough, Holloway. I've
told you before, wearing boards
on your shoulders, and parading
with a stiff spine doesn't auto-
matically endow you with back-
bone - !
REEF
- any more than being the son
of Captain Neilsen does!
Wendover is watching this exchange with growing dis-
pleasure.
CARL
However our ideas disagree, as
I've said before, I'm <u>not</u> a
coward! And it happens you've
got no choice: Either <u>I</u> take
you down there, in the Lungfish,
or you don't get there -
REEF
(bitterly)
I'd sooner swim!
WENDOVER
(snaps)
That's enough, Reef! Both of
you!
(to Reef)
It so happens Dr. Neilsen's
right. The odds are long
enough, without making them
longer.
(he turns to Carl)
Get the Explorer in the airlock,
ready for launching.
(CONTINUED)
- - -
88.
252 (CONTINUED - 3)
Carl nods. Throwing a final look at Reef, he goes to
the passage way, climbs down. Wendover turns back to
Reef, suggests:
WENDOVER
You better take Powell and
Carney with you --
DAVE
The frogmen?
WENDOVER
With their underwater experience,
they'll be invaluable. Take
sidearms, and flare pistols --
DAVE
(puzzled)
Sidearms? But the saucer's dead.
WENDOVER
(holding up crossed
fingers)
We hope!
Wendover holds out his hands, shakes both theirs.
Reef turns to Dave.
REEF
Let's get ready.
They head for the passage way and exit. Wendover looks
at Sir Ian and Kent, shakes his head solemnly.
DISSOLVE TO:
- - -
89.
253 INT. TORPEDO ROOM - DAY - FULL SHOT - AT AIRLOCK
We see the single hatch open, in which the Depth Explorer
has been mounted. Carl, in a jumper and helmet, waits
by the step with Powell and Carney, dressed in their
rubber suits, with helmets and face plates. They carry
breathing apparatus. Behind them, Dave and Reef appear,
dressed similarly, carrying <u>their</u> equipment - portable
torches, a bag of tools, sidearms, flare pistols, and...
in Dave's case...a machine pistol (burp gun). Over
this:
NARRATOR
Preparations consumed only an
hour. At 1100, everything was
ready for this last, desperate
attempt.
Now the four men join Carl at the airlock. Carl is
tense, tight-lipped. Reef frowns, concerned.
REEF
There's still time. You could
show me how...?
Carl shakes his head firmly, gestures toward the hatch.
CARL
Get in.
254 CUT TO COVER
the action of the five men climbing down hatch (into
Explorer). When all are inside, Griff steps forward,
closes the hatch. Then he closes the airlock, and
goes to intercom.
255 INT. CONTROL ROOM - DAY - GROUP SHOT - WENDOVER, KENT,
SIR IAN
And now Griff's voice comes over the intercom:
(CONTINUED)
- - -
90.
255 (CONTINUED)
GRIFF (o.s.)
(filter)
Ready to open Airlock door,
Captain!
Wendover glances once at Kent and Sir Ian. Then he
moves to the mike.
WENDOVER
(into mike)
Go ahead, Griff!
256 SPECIAL EFFECT SHOT - BELLY OF TIGER SHARK
Now we see the lock door slide open. A moment later,
the Depth-Explorer moves out through the opening, like
an animal being born. It hovers for a moment, just
below the Shark. Then it maneuvers o.s. towards the
Cyclops.
257 INT. DEPTH-EXPLORER - DAY - TIGHT - (AND WE MEAN <u>TIGHT</u>)
GROUP SHOT
Carl operates the controls. The five men are wedged in
shoulder to shoulder. Reef makes a gesture of direc-
tion. Carl nods, complies.
258 SPECIAL EFFECT SHOT - THE CYCLOPS
Now the Depth-Explorer moves into frame, drifts directly
toward the great 'eye' - which still has a faint glow.
259 CLOSE SHOT - AT CYCLOPS' EYE - SPECIAL EFFECTS SHOT
The Depth-Explorer moves up with its hatch clamped
magnetically, directly over the eye.
260 INT. DEPTH-EXPLORER
as Dave turns to Reef.
DAVE
Now what?
(CONTINUED)
- - -
REVISED 5-28-59 "ATOMIC SUBMARINE" 91.
260 (CONTINUED)
REEF
(looks at others, his glance
lingering on Carl)
Now what - shall we take
a chance?
CARL
(solemnly)
That's why we came.
Reef nods.
REEF
All right.
(then)
Better breathe oxygen, just
in case.
The others all apply oxygen tubes to their mouths, go
down hatch, Reef picking up a large tool like a wrecking
bar.
260A UNDER HATCH
Reef and Dave come down hatch into scene. We see the
iris and Reef goes to work on it with the tool.
WIPE TO:
261 INSERT - CLOSE UP - FITTING OF EYE
as Reef's tools batter at it. Suddenly, it gives away.
262 SHOOTING AT EYE
as, suddenly, it SEEMS TO OPEN, LIKE A CAMERA IRIS,
leaving a circular opening, big enough to crawl through.
262A REACTION - DAVE & REEF
Now Reef sniffs at the atmosphere that pours in from
the saucer. Surprised, enthused, he removes his oxygen
tube, breathes deeply.
(CONTINUED)
- - -
REVISED 5-28-59 "ATOMIC SUBMARINE" 92-93
262A (CONTINUED)
REEF
Air! Pure air! Under high pressure!
DAVE
That's a relief!
262B INT. OF DEPTH EXPLORER
POWELL
What happens now, sir?
262C UNDER HATCH
Reef thinks a moment, then decides.
REEF
You all wait here. I'm going inside,
take a look.
DAVE
(insistently)
Not <u>alone</u>, you're not!
The men ad lib (no)!
Reef frowns at them, then grins gratefully, squeezes
Dave's arm, and moves toward the open eye.
262D INT. OF DEPTH EXPLORER
CARL
Good luck, men!
262E UNDER HATCH
Reef smiles, begins crawling through the eye and
into the saucer, followed by the others.
OMIT
263 to
266
267 INT. SHORT RAMP SECTION - DAY - SHOOTING TOWARDS
OPENING ABOVE
OVERLAPPING ACTION as the four men crawl down through
the hole into this section of the ramp of the saucer.
0MIT
267A
267B
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 94
267C RAMP SECTION - TRUCKING SHOT - FOUR MEN -
AGAINST BLACK
Reef gestures, leads the way down the ramp. Dave is
at his elbow, the two frogmen just behind them. They
light TORCHES or FLASHLIGHTS.
OMIT
267D
267E
267F FOUR MEN - CHAMBER SECTION
They come down ramp section to chamber, stop, and
look off screen.
268 FROM THEIR P.O.V. - TOWARD WOUND MADE BY TIGER SHARK
And we see the bow of the submarine extending into
the chamber. But, strangely, there is not a drop of
water, not a break in the surrounding wall.
268A FOUR MEN
DAVE
(pointing)
How about that! The bow drove
half through her, but she sealed
herself right up.
REEF
(excitedly)
What's more important - there's
our problem.
(points)
The bow ram - the sawteeth are
holding the Shark in the break.
If we can cut the ram, the Shark
can pull herself loose!
DAVE
(enthused)
I think you're right.
REEF
(to Powell)
Go back and tell Dr. Neilsen.
Have him report to the Skipper.
(CONTINUED)
- - -
95.
268 (CONTINUED)
Powell nods, retreats. The others unsling their equip-
ment.
REEF
Now let's get to work.
They light the torches, and advance on the protruding
bow of the sub (o.s.).
269 INSERT - CLOSE UP - THE TORCHES
as they begin biting into the metal of the submarine
ram.
WIPE TO:
260 INT. DEPTH-EXPLORER - DAY - CARL AND POWELL
Carl has the radio mike in his hand and calls:
CARL
Depth-Explorer to Tiger Shark.
Do you read? Over.
271 INT. CONTROL ROOM - DAY - TIGHT THREE SHOT - WENDOVER,
KENT AND SIR IAN
The Skipper himself wears the headphones. He cries ex-
citedly into the radio mike:
WENDOVER
We read you! Go ahead, Doctor!
(then, as he
listens eagerly,
repeats)
They're inside the saucer. It's
filled with breathable air!
KENT
Wonderful!
WENDOVER
(listening, then
enthusiastic)
That's wonderful, Carl!
(to others)
Reef thinks they can clear the Shark
bow so we can pull ourself loose!
(CONTINUED)
- - -
96.
271 (CONTINUED)
SIR IAN
(ever the scientist)
What is it like, inside Cyclops?
This is a priceless opportunity
for....
But Wendover ignores this, admonishes:
WENDOVER
Tell Reef: Be sure you're all
clear before we make a move!
Good!
He takes off the headphones, beams at the other men.
WENDOVER
Maybe we'll come out of this
yet!
272 FULL SHOT - THE CON
And now Griff, operating the navigation equipment, frowns,
perplexed, then calls:
GRIFF
Skipper - could you take a look
here...?
WENDOVER
Something wrong?
GRIFF
The inertial navigation system.
Must have been knocked out in
the crash.
WENDOVER
Why do you say that?
GRIFF
We're dead in the water. But
it indicates we're moving!
WENDOVER
What????
Sir Ian and Kent exchange a look, come over and join
them.
SIR IAN
But that's impossible!
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 97
272 (CONTINUED)
Now Kent notices something. He points:
KENT
The radiation level - from
the saucer - it's rising!
SIR IAN
(suddenly fearful, to
Wendover)
What direction does the system
indicate?
WENDOVER
(suddenly grim)
Due north. At five knots...no, six!
SIR IAN
(grave, thoughtful)
Toward the Pole!
GRIFF
(demanding)
But - that cyclops is dead! We
killed it...didn't we?
(as they look away)
Didn't we?
DISSOLVE TO:
273 SPECIAL EFFECT SHOT - TIGER SHARK AND CYCLOPS
with Depth-Explorer still clamped to the eye. Now
we see, definitely, that the two craft, locked
together, are indeed moving, slowly but perceptibly,
along the ocean floor.
274 INT. CHAMBER SECTION OF SAUCER - DAY - CLOSEUP -
FACES OF REEF, DAVE, POWELL, CARNEY
Weirdly lit in the glow of the torches.
274A
OMIT
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE"
97-A
OMIT
274B
274C
274D CLOSE SHOT - REEF
As he works, a weird SOUND OSCILLATION - varying
wildly in pitch - sweeps over <u>scene.</u> Reef reacts,
startled. The SOUND COMES AGAIN, and Reef turns,
calls sharply:
REEF
Dave?
274E PAN SHOT - WITH DAVE
As he detaches himself from the frogmen, moves
into TWO SHOT with Reef.
DAVE
Yeah?
REEF
Listen!
(the SOUND comes again)
Hear that?
Dave has not reacted at all. He looks peculiarly
at Reef.
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 97-B
274E (CONTINUED)
DAVE
I don't hear anything.
(he looks at Reef,
concerned)
Maybe you've been down here
too long. Why don't you go
back up and -
REEF
Strange you didn't hear it.
OMIT
274F
275 CLOSE SHOT - THE TORCHES
biting deeply into the steel of the ram. Now CAMERA
TILTS DOWN SLOWLY, and as it is moving we...
DOWN WIPE TO:
276 INT. GLOBE - DAY - SPECIAL EFFECTS SHOT
Though we see nothing of its construction at this
point.
276A INSERT - CLOSE SHOT - PROBING SPINES - TRICK SHOT
(SPECIAL EFFECTS)
The black, catfish-or-sea urchin-like spines seem
to rise from limp supineness. They stiffen, grope
like fingers, move towards a series of grommet-like
openings in the translucent wall of the sphere. Now
a spine nears a grommet, slips into it, apparently
making 'contact', for somewhere, a FAINT LIGHT comes
on, and the scene becomes lighter. In a moment,
another spine slips into another grommet-hole.
- - -
98.
277 INT. CHAMBER SECTION - DAY - MED. SHOT - A LIGHT
To an accompanying tympany BEAT, a LIGHT SPOT, appears.
A moment later, another drum beat, another LIGHT SPOT.
(Note: This business may continue behind subsequent
dialogue - more beats, more lights coming on)
278 CLOSE GROUP - THE WORKING PARTY - ABOUT RAM OF TIGER
SHARK
As Reef continues working with the torch. Dave pushes
up his goggles, reacts, surprised. He taps Reef on the
shoulder.
DAVE
Hey - you know somethin'? It's
getting lighter in here!
REEF
(a similar re-
action)
You know - it <u>is</u>?
Now they give a sudden lurch. Dave looks down at his
feet, then into Reef's face.
DAVE
And if I didn't <u>know</u> better - I'd
swear we were moving!
REEF
Let's get back to work, and maybe
we <u>will</u> be, soon.
279 INT. DEPTH-EXPLORER - DAY - CLOSE SHOT - CARL TALKING
INTO MIKE
He looks about, worriedly.
CARL
(into mike)
...I get an impression of move-
ment, Captain. Is that possible?
VOICE OF WENDOVER
(through phones)
We have the same reaction, up
here.
(CONTINUED)
- - -
99.
279 (CONTINUED)
CARL
(very worried)
But ---
280 INT. CONTROL ROOM - DAY - GROUP SHOT - AS BEFORE
as the Skipper turns to the scientists.
WENDOVER
Now they feel it...down below.
KENT
(frowning at
gauge)
Radiation level...constantly
rising...
SIR IAN
(murmurs thought-
fully)
As we near the Pole...
KENT
(sharply)
There's got to be an explanation!
SIR IAN
(mildly)
There is.
(as they study
him)
I believe our friend...Cyclops...
is returning to life!
A grim reaction, all around.
281 INT. GLOBE - DAY - MED. SHOT - TRICK SHOT - THE FINGERS
(SPECIAL EFFECTS)
as, now, the last of them contact their proper control
points, and a complete circuit of lights FLASHES ON.
The LIGHT INTENSITY rises.
282 INT. CHAMBER SECTION - DAY - GROUP SHOT - THE MEN
working on the ram. Now, with a final cut with the
torch, there is a CLANG, A RINGING SOUND, and then
the ram drops free.
(CONTINUED)
- - -
100.
282 (CONTINUED)
REEF
(with satisfaction)
That does it! I think the Shark
can pull clear!
Now, we hear a weird, mechanical voice:
SAUCER-VOICE
Commander Holloway! Listen!
Reef reacts.
REEF
You hear that?
DAVE
(looking blank)
The sound again?
Now the voice repeats:
SAUCER-VOICE
Commander Holloway. Make no
resistance.
REEF
(nervously)
A voice, this time. It spoke
my name!
Reef draws his gun and Dave raises his machine gun.
283 (OMITTED)
284 MED. GROUP SHOT
And now the voice comes from another quarter:
SAUCER-VOICE
You will see that avails nothing!
Reef looks around, startled.
285 PAN SHOT - WITH POWELL
His nerve is going. He edges away from the group, then
turns to bolt out of scene, heading for the Depth-
Explorer. But just as he takes his first steps...
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 101
286 PAN WITH POWELL
As he stumbles through the darkness.
286A FLASH OF LIGHT
A flash of light comes down at Powell from somewhere.
287 CLOSEUP - POWELL
The light envelops him, and he cringes.
POWELL
Carney - help!
287A THREE SHOT - CARNEY DAVE REEF
Reacting to Powell's cry.
REEF
Carney, see what's happened
to Powell.
Carney moves o.s.
287B CLOSEUP - POWELL - MAKEUP SHOT
We see the horrible effect of the light on his face.
287C TRICK EFFECT - POWELL SHRIVELLED - PRODUCTION SHOT
Powell is shrivelled by the light. The last thing we
see of him is...
287D TRICK EFFECT - POWELL'S HANDS - SPECIAL EFFECTS SHOT
They disintegrate to Jelly, and Powell is completely
gone.
288 PANNING WITH CARNEY
As he reaches the spot where Powell was killed. He
reacts, horrified.
288A PANNING WITH CARNEY
As he moves away hurriedly.
288B PANNING WITH CARNEY
As he turns, from the blackness, a burst of steam
issues forth into his face.
288C CLOSEUP - CARNEY
He screams as the steam envelops him and sinks out
of scene.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE"
101-A
288-D TRICK SHOT - CARNEY - SPECIAL EFFECTS SHOT
As Carney's body disintegrates into the ground.
288-E TWO SHOT - DAVE REEF
Unaware of Powell and Carney's fate.
DAVE
Where do you think the voice you
heard was coming from?
REEF
(points farther down
the ramp)
Somewhere down there?
DAVE
Wonder where Powell and Carney
are?
REEF
We'll have to look for them
later.
They move on.
289 THROUGH IRIS DOWN RAMP TO FLOOR - BLACK BACKING -
DAY - PAN SHOT - DAVE AND REEF
They continue down ramp. Reef looks expectantly at
Dave.
REEF
Well?
DAVE
I'm with <u>you!</u>
- - -
101-B
290 FLOOR - BLACK BACKING - DAY - UP SHOT - REEF AND DAVE
They come clambering down the ramp, reach the platform
level. Then, awed, they look around them.
291 EST. SHOT ON FLOOR (PLATFORM) - CAVERNOUS INTERIOR -
BACK AT TINY MEN ON PLATFORM - MATTE SHOT
We see a long, slender bridge, or catwalk, extending
out into space, apparently reaching toward a great,
opalescent sphere that seems to hang suspended on
cushioning points, some sort of shock-absorbing system,
in the very center of the saucer. A weird GLOW, seem-
ing to become ever brighter, emanates from inside this
sphere.
292 TWO SHOT - DAVE AND REEF
Awed, round-eyed, silent, they stare open-mouthed at
the sight. But before they can make any comment...
SAUCER VOICE
Remove your weapons, Commander.
And come here - alone!
REEF
Come where?
Dave looks at him peculiarly.
DAVE
The voice again?
But Reef is too intent on the voice. Now he begins dis-
arming as Dave looks incredulous.
DAVE
What're you doing?
293 MATTE SHOT - FROM THEIR P.O.V. - TOWARD GLOBE
Now, at the very tip of the spine-bridge, an IRIS
OPENING appears in the side of the sphere.
SAUCER VOICE
(now seeming to come
from this opening)
To me - here!
- - -
102.
294 TWO SHOT - REEF AND DAVE
Reef has a distant look as he hands his weapons to
Dave.
REEF
Here - keep these.
(then)
It wants me to come alone.
DAVE
(flaring)
Oh it does???
Reef moves o.s. toward the bridge. Dave waits, very
unwillingly.
295 INT. SECTION OF BRIDGE - LEADING TO SPHERE - DAY -
REEF - ONTO BLACK
He inches his way tortuously across the slender support,
toward the iris opening.
296 MATTE SHOT - BEHIND REEF - TOWARD SPHERE
He crawls cautiously towards the opening.
296A INT. PLATFORM - BLACK BACKING - DAY - CLOSE SHOT - DAVE
Angry, impatient, he sets Reef's weapons down. Then he
clutches his submachine gun, watches Reef o.s.
297 INT. SPHERE - DAY - MED. SHOT - FROM INSIDE - IRIS
OPENING
Now Reef appears, crawls cautiously up into the opening,
then stands, looks inside. His eyes nearly start from
his head as he takes in the incredible sight.
298 TRICK SHOT - FROM REEF'S P.O.V. - INTERIOR OF SPHERE -
SPECIAL EFFECTS SHOT
His eyes range over the ceiling of the glove, then as he
shifts his gaze to the bottom of the sphere, we see 'it'
- a horrendous organism, like a giant sea urchin, the
long, black, writhing spines now all in proper contact
(CONTINUED)
- - -
103.
298 (CONTINUED)
with their grommet-sockets. And out of the center of
the pulsating central 'body' rises a long stalk, and on
the very tip of it a great, glowing 'eye.' The setup
is like a monstrous rendering of the eye of a snail.
299 MATTE SHOT - UP PAST 'EYE' AT REEF IN IRIS
So he appears a tiny, miniature man compared to the
cavernous size of the sphere. And now, apparently
from the 'eye' itself, which seems to flicker and
glow like an electron beam spectrometer, comes the
saucer-voice again:
SAUCER VOICE
So, Commander Holloway - as
you Earth inhabitants would
express it - we meet 'face to
face.'
300 CLOSE SHOT - REEF
As he says with sardonic inflection:
REEF
That's a <u>face</u>???
SAUCER VOICE
Point of view is everything.
To us, <u>your</u> form of life is
ugly as we appear to you.
REEF
Tell me something: Why can <u>I</u>
hear you, when the others
couldn't?
300A FROM REEF'S P.O.V. - THE EYE
SAUCER VOICE
You do not 'hear' me! Our in-
dividual brain frequencies are
now attuned, and we exchange
wave-thoughts.
REEF O.S.
You mean 'Extra Sensory Per-
ception?'
(CONTINUED)
- - -
104.
300A (CONTINUED)
SAUCER VOICE
Whatever your 'earth-term' may
be. The principal is ancient,
and very simple.
300B CLOSE SHOT - REEF
Listening.
SAUCER VOICE
It is not necessary for you to
speak. Your 'thought-response'
will suffice.
(Note: From here on, in speech with the saucer, Reef's
lips do not move - his responses, except to Dave, are
all 'voice over')
300C INT. SECTION OF BRIDGE - DAY - DOWN SHOT - PANNING WITH
DAVE
He cannot contain himself any longer, is now crawling
out onto the bridge, toward Reef; cradling the sub-
machine gun on his forearm as he goes.
300D INT. SPHERE - DAY - MATTE SHOT - UP PAST 'EYE' - AT
REEF IN IRIS
The conversation continues:
SAUCER VOICE
My mission is to study various
solar systems, and planets -
select the most suitable for
colonization -
REEF
- for horrors like yourself?
SAUCER
Of course. It may interest you
to know I have visited hundreds
of other worlds, and of all of
them, your Earth seems most suit-
able.
(CONTINUED)
- - -
105.
300D (CONTINUED)
REEF
(drily)
Swell!
SAUCER VOICE
(sternly)
Your friend was to remain where
he was!
300E CLOSE SHOT - REEF
He looks a bit bewildered:
REEF
He did!
SAUCER VOICE
I am afraid not. Therefore -
Now, to Reef's consternation, Dave suddenly appears be-
side him:
REEF
(to Dave, lip sync)
Dave - !
DAVE
(grimly)
What's goin' on in here, Lad?
What - ?
Then, Dave's mouth drops open, and he stares, incredulous.
300F MATTE SHOT - AS BEFORE - DAVE'S P.O.V. - THE CREATURE
SAUCER VOICE
(warningly)
Stand away from him, Commander!
300G TWO SHOT - DAVE AND REEF
As Dave, before Reef can stop him, steps forward
belligerently, levels and submachine gun down at the
creature.
DAVE
(menacingly)
So this is 'headquarters,' huh?
Well, you've sunk your last ship,
you....
And he looses a burst with the sub-machine gun, so that
we don't hear the appropriate name.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE"
105-A
300H SPECIAL EFFECT SHOT - DAVE - PRODUCTION SHOT
With a BOOM of tympany, a LIGHT STRIKES Dave, and
suddenly he is melted, shrivelled to nothingness. The
machine gun falls o.s.
300I CUT TO COVER - THIS ACTION
300J CLOSE SHOT - REEF
As he looks on, shocked, sobered, shaken. Then, in
his thought-voice, he asks slowly:
REEF
Why not me? What am I - the
closing act?
SAUCER VOICE
On the contrary. I want you -
unharmed - perfect.
REEF
Why?
SAUCER VOICE
I have selected you, to return
with me - along with several other
specimens, for study. We will
examine you and the others, discover
desirable features to incorporate
in our 'earth-colonizers.'
301 MATTE SHOT - REEF'S P.O.V. - THE ORGANISM
REEF O.S.
Then you just...'build them in?'
SAUCER VOICE
Of course. Evolution is much
too slow a process.
(CONTINUED)
- - -
106.
301 (CONTINUED)
SAUCER VOICE
On earth you build with inanimate
material. <u>We</u> employ living tissue.
This space vehicle, for example...
302 CUT TO COVER
303 MED. CLOSE SHOT - REEF
Awed, frightened, he looks about him at the construction
of the chamber in which he is standing.
SAUCER VOICE
It is a living thing. When damaged
- you would say 'wounded' - it
immediately 'heals' itself.
REEF
(understanding)
That's why no water leaked inside
when we rammed you?
SAUCER VOICE
Of course. But it is time to be-
gin the return voyage --
304 CLOSE SHOT - REEF'S HAND
And we see it creep up under his coat, grabbing the
Very pistol.
305 MED. CLOSE SHOT - REEF
as he says grimly, threateningly:
REEF
To navigate, won't you have to...
see your way?
SAUCER VOICE
Obviously.
REEF
<u>That</u> might be a <u>little</u> <u>rough</u>!
And Reef raises the Very pistol, fires.
- - -
107.
306 SPECIAL EFFECT SHOT - THE 'EYE' OF THE ORGANISM
as the flare strikes it and bursts. There is a SCREAM,
an unearthly, shattering WAIL from the organism itself.
307 SPECIAL EFFECT SHOT - CLOSE ON 'EYE'
as the flare burns a hole in the iris, and the water,
or whatever it contains, seems to drain from it, like
a plastic bag when it is torn.
308 CLOSE SHOT - REEF
He reacts quickly, astonished at the effect of his
shot. But then he wastes no time - turns and scrambles
back out. SCREAMS OF PAIN from the creature follow
him.
309 INT. SECTION OF BRIDGE - DAY - FAST PAN - WITH REEF
Heedless of the danger of falling, he scrambles madly
back across the bridge. Beams of the death-dealing
light just miss him as he goes, and SCREAMS from the
wounded creature shatter the cavernous silence.
310 (OMITTED)
310A PANNING WITH REEF
He reaches the platform, races madly for the ramp.
Beams of light again just miss him.
310B PANNING WITH REEF - UP RAMP
And suddenly, as he reaches the iris, he YELLS with
pain, his foot caught in the iris.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE"
107-A-B
310-C INSERT - CLOSEUP - REEF'S FOOT
As he pulls his foot clear.
OMIT
310D
311
311-A PANNING WITH REEF
As he runs through the darkness.
311-B PANNING WITH REEF
As a beam of LIGHT just misses him.
311-C CLOSEUP - STEAM
As steam comes out of the darkness at him.
311-D PANNING WITH REEF
As he runs by, the steam just missing him.
311-E CLOSE PAN - REEF
As he races for the iris at the end of the ramp.
312 INT. DEPTH-EXPLORER - DAY - AT HATCH WINDOW - OVER
CARL'S SHOULDER
Carl reacts as the iris begins closing. Quickly, he
grabs a crowbar, or other prop, wedges it into the
iris, holding it open momentarily. A moment later,
Reef literally hurls himself into the little sub,
slams the hatch behind him, and exclaims:
REEF
Back to the Shark - right
now!
Carl does not hesitate, begins working the controls.
CARL
What about Dave - and the
others?
- - -
108.
312 (CONTINUED)
REEF
(grimly)
'Fortunes of War!'
Carl frowns. Now Reef grasps the radio microphone, says
quickly:
REEF
(into mike)
This is Reef, Skipper -- in the
Depth-Explorer. Don't wait for
us - start engines, and pull loose!
313 INT. CONTROL ROOM - DAY - FULL SHOT - THE ROOM
as Wendover nods, responding to the radio message.
WENDOVER
All right, Reef.
He turns to the intercom, orders:
WENDOVER
Reactor Room! This is the Skipper!
I want all reverse full-emergency
power!
314 SPECIAL EFFECT SHOT - THE TIGER SHARK PROPELLERS
They begin to turn, slowly at first, then picking up
speed.
315 SPECIAL EFFECT SHOT - SHARK AND DEPTH-EXPLORER
It moves away from the saucer, back up through the water
to the belly of the Shark, at the airlock.
316 INT. LOWER CHAMBER OF SAUCER - DAY - SPECIAL EFFECT SHOT
- CLOSE ON 'EYE'
And now we see, through a SERIES OF DISSOLVES that the
eye is healing - restoring itself, like a balloon being
blown up (maybe this would do it).
317 SPECIAL EFFECT SHOT - THE 'FINGERS'
Purposefully they probe into the 'circuit' apertures,
and the power lights begin to glow radiantly.
- - -
109.
318 INT. FORWARD TORPEDO ROOM - DAY - FULL SHOT - AT AIRLOCK
As Griff superintends preparations to open the lock door,
the men from the control room - Wendover, Kent and Sir
Ian, hasten in. Now Griff cracks the hatch on the lock
door, and in a moment, Reef staggers out, then helps Carl
from the Explorer. Wendover frowns, glances inside:
WENDOVER
What about --- ?
Reef only shakes his head. Faces are tense, then Reef
declares bitterly:
REEF
We didn't kill it, Skipper. And
if it ever gets...back where it
came from...the Earth is doomed,
and everything and everybody on it!
319 SPECIAL EFFECT SHOT - TIGER SHARK AND SAUCER
And now, the mighty engines of the Shark succeed - the
bow of the Shark pulls out of the hull of the saucer,
and the two vehicles float freely in the water.
320 INT. FORWARD TORPEDO ROOM - DAY - GROUP SHOT
The scene JUMPS AND LURCHES. Then there is an exultant
voice:
VOICE
(over intercom)
We've pulled loose, Skipper!
We're free!
Wendover and Reef exchange an exultant look. Then they
turn and run out toward the ladder to the con. Kent,
Carl and Sir Ian follow more slowly.
321 INT. CONTROL ROOM - DAY - FULL SHOT - THE ROOM
As Wendover and Reef come scrambling up the ladder and
through the hatch, the man at the helm indicates the TV
screen. Wendover and Reef peer eagerly at it. Wendover
smiles tightly.
- - -
110.
322 SPECIAL EFFECT SHOT - OPTICAL SHOT - THE TV SCREEN
And we see the saucer floating loose in the water. But,
suddenly, with a tremendous burst of speed, the saucer
moves away through the water, so rapidly as almost to
become a blur.
REEF (o.s.)
(despairingly)
There it goes!
323 UP INTO FACES OF REEF AND WENDOVER
as Reef adjusts the dials of the screen, and Carl, Kent
and Sir Ian appear behind them.
REEF
Straight to the Pole - at almost
fifty knots!
WENDOVER
Nothing we can do, now.
KENT
Excuse me, Captain - there may
be one last, desperate chance -
a one-in-a-thousand shot...
WENDOVER
(desperately)
Anything ---
KENT
It's possible I could adapt one of
the torpedo guidance systems to the
ICBM - so it would 'home' on the
saucer when he rises from the Pole.
WENDOVER
What about time...?
(CONTINUED)
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE" 110-A
323 (CONTINUED)
SIR IAN
(a glance at Reef)
Cyclops will have to linger at
the Pole to recharge his power
banks.
WENDOVER
(snaps)
All right - go to it.
(CONTINUED)
- - -
111.
323 (CONTINUED)
WENDOVER (cont'd)
(to Reef)
Reef, you take over as navigator.
Find us a pot-hole in the ice.
And as they AD LIB orders and instructions, Kent and Sir
Ian and Carl climb back down the hatch to go to work.
DISSOLVE TO:
324 INT. FORWARD TORPEDO ROOM - DAY - CUTS TO COVER - WORK
ON MISSILE - (STOCK IF AVAILABLE - OTHERWISE DISSOLVE TO
325)
with Carl, Kent, Griff and Sir Ian all at work, in-
stalling complicated electronic equipment in the nose
of the huge ICBM. Over this:
NARRATOR
Adapt a complicated guidance
system to a huge ballistic rocket
- convert it to a water-to-air
intercept missile? It was foolish,
it was insane, it was fantastic -
but it was their only hope - and
the <u>earth's</u> only hope!
WIPE TO:
325 FULL SHOT - THE GROUP
as Kent steps back, wipes his hands on a piece of waste.
SIR IAN
All ready?
KENT
(dourly)
As ready as we <u>can</u> be!
(walking off)
I'll report to the Skipper.
DISSOLVE TO:
326 SPECIAL EFFECT SHOT - THE TIGER SHARK
It is rising to the surface, under the ice. And now,
as it nears the surface, a BEAM OF LIGHT, like a search-
light, hits it, and the water becomes brighter.
- - -
112.
327 INT. CONTROL ROOM - DAY - MED. CLOSE SHOT - WENDOVER
AND REEF
as Reef, at the navigator's position, sings out:
REEF
Right under our hole in the
ice, Skipper.
328 SPECIAL EFFECT SHOT - DOWN ON ICE - SEEN ON TV SCREEN
We see a round, black hole of open water in the ice
field.
329 INT. CONTROL ROOM - DAY - CLOSE SHOT - WENDOVER AND
REEF
as Wendover glues his eye toward the screen.
WENDOVER
What's the corrected bearing
to the Magnetic Pole?
REEF
(checking)
Minus three.
Wendover sets a knob on the screen, peers at it again.
330 SPECIAL EFFECT SHOT - OPTICAL SHOT - POV
All we see is fields of ice and snow. Finally the cross-
hairs stop exactly at minus three.
331 MED. SHOT
as Wendover gestures toward the controls.
WENDOVER
Take over here, Reef.
(CONTINUED)
- - -
113.
331 (CONTINUED)
Reef nods, looks at TV screen. Wendover moves to the
intercom, barks:
WENDOVER
Prepare ICBM for firing!
Then he murmurs to Reef:
WENDOVER
Well, that's all we can do --
until our space-friend decides
to blast-off.
332 SPECIAL EFFECT SHOT - THE TIGER SHARK
And now, on the bow, we see the mighty ICBM lift from a
recess on the deck, in front of the conning tower. It
stands on end in its cradle, ready.
WIPE TO:
333 INT. CONTROL ROOM - DAY - MED. TWO SHOT - REEF AND
WENDOVER
Reef's eyes on screen. Wendover waits tensely.
Now Reef reacts.
334 SPECIAL EFFECT SHOT - OPTICAL SHOT - THROUGH SCREEN -
THE ICE
Suddenly, a phenomena like an undersea volcano rising.
The ice rends and cracks, rises in a great bulge.
335 SPECIAL EFFECT SHOT - THE ICE
It breaks up, boils, tremendous rending, tearing NOISES.
Then, from the depths of the water below, a familiar oval
shape - smooth, glittering, beautiful - surmounted by the
gleaming cyclops eye appears. The saucer rises from the
water like a great porpoise, hovers just above the ice,
then begins rising slowly into the air.
336 INT. CONTROL ROOM - DAY - REACTION SHOT - WENDOVER AND
REEF
as Reef exclaims excitedly:
(CONTINUED)
- - -
114.
336 (CONTINUED)
REEF
Skipper - I think - it <u>is</u>!
It's Cyclops!
Wendover pushes him aside for a quick look himself.
Then, he leaps for the intercom, barks:
WENDOVER
This is the Skipper! Fire!
Fire!
337 SPECIAL EFFECT SHOT - THE TIGER SHARK
Now we see a discharge like compressed air below the
ICBM. It floats up and away from the Shark, in a ver-
tical position. Then, straight as an arrow, it heads
for the surface.
338 SPECIAL EFFECT SHOT - THE HOLE IN THE ICE
Now, from the black water, the ICBM leaps into-the air,
like a suddenly released, air-filled ball. As it leaps
above the surface, the mighty rocket engines ignite with
a ROARING BLAST, and the ICBM leaps high into the air,
roars up o.s.
339 SPECIAL EFFECT SHOT - WITH ICBM
It rises higher and higher, faster and faster, into the
sky.
340 SPECIAL EFFECT SHOT - THE SAUCER
It, too, is moving faster and faster, on what should
appear to be a converging course with the missile.
341 SPECIAL EFFECT SHOT - THE SKY
This is the 'money' shot - to make or break the picture.
In one corner of the frame, the saucer rises swiftly.
But as it moves to center frame, in from the opposite
corner comes the ICBM, heading straight and true for the
saucer. They meet.
The explosion is tremendous - a mighty, nuclear fireball,
great chunks of debris hurled sizzling into space in all
directions, a booming, pounding after-shock wave, then a
great sweeping mushroom cloud. After this.....nothing
but empty sky.
- - -
REVISED 5-26-59 "ATOMIC SUBMARINE"
115.
342 CUTS TO COVER - THE PHENOMENA ABOVE
343 INT. CONTROL ROOM - DAY - REACTION SHOT - PANNING
ALL THE PRINCIPALS
The shock, the exultation, the relief, then the
sagging easement of tension...it is beyond words.
Wendover looks at Kent, with a look more eloquent
than an hour speech. Sir Ian's eyes are misty with
gratitude. Carl begins trembling with reaction, and
Reef puts a comforting arm around him. Griff sags
onto a stool, head down, just moving his head aimlessly
from side to side. Reef and Wendover exchange a look
of silent understanding.
SLOW DISSOLVE TO:
344 EXT. OCEAN - NIGHT - LONG UP SHOT - THE NIGHT SKY
(STOCK)
on a moonless night, the stars glinting and sparkling
like billions of distant diamonds.
345 SHOT - BOW OF SUBMARINE - SPECIAL EFFECTS SHOT
as it swishes through the water on the homeward voyage.
DISSOLVE:
345-A STOCK SHOT - NAVY YARD - NIGHT (as in 38A)
346 EXT. NAVY YARD - NIGHT - TWO SHOT - REEF AND CARL
As they slowly walk away from the o.s. submarine towards
the gate. Carl looks thoughtfully up at the sky as he
stops for a moment.
CARL
They're so remote - cold - beautiful,
the stars. But now - I wonder -
REEF
(smiling fondly)
Yes?
CARL
(whimsically)
Which is the one - we have to worry
about?
Reef also looks up at the sky thoughtfully, shakes
his head.
(CONTINUED)
- - -
116.
346 (CONTINUED)
REEF
Maybe - just 'maybe' - when their
ship doesn't return - they'll
decide not to come here, after all.
CARL
But if they <u>do</u>?
REEF
(soberly)
I don't know.
CARL
(a slight smile)
I wouldn't worry. So long as we
have boats like the Tiger Shark -
and people like you, the Skipper,
Dave, Kent, Sir Ian and my father -
REEF
(smiles)
And his 'egghead' son!
(he punches Carl's
arm jovially)
We'll give 'em a <u>rough</u> <u>reception</u>,
won't we?
They go out.
347 EXT. STARLIT SKY - NIGHT
SUPERIMPOSE:
END TITLE
FADE OUT:
<u>T H E E N D</u>
</pre>
</body>
</html>
Web Scraping#
Not all web pages will be as easy to scrape as these screenplay files, however. Let’s say we wanted to scrape the lyrics for Missy Elliott’s song “The Rain (Supa Dupa Fly)” (1997) from Genius.com.
Even at a glance, we can tell that this Genius web page is a lot more complicated than the Ghostbusters page and that it contains a lot of information beyond the lyrics.
Sure enough, if we use our requests library again and try to grab the data for this web page, the underlying data is much more complicated, too.
response = requests.get("https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics")
html_string = response.text
print(html_string)
Show code cell output
<!DOCTYPE html>
<html class="snarly apple_music_player--enabled bagon_song_page--enabled song_stories_public_launch--enabled react_forums--disabled" xmlns="http://www.w3.org/1999/xhtml" xmlns:fb="http://www.facebook.com/2008/fbml" lang="en" xml:lang="en">
<head>
<base target='_top' href="//genius.com/">
<script type="text/javascript">
//<![CDATA[
var _sf_startpt=(new Date()).getTime();
if (window.performance && performance.mark) {
window.performance.mark('parse_start');
}
//]]>
</script>
<title>Missy Elliott – The Rain (Supa Dupa Fly) Lyrics | Genius Lyrics</title>
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<meta content='width=device-width,initial-scale=1' name='viewport'>
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<link title="Genius" type="application/opensearchdescription+xml" rel="search" href="https://genius.com/opensearch.xml">
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<meta content="{"chartbeat":{"authors":"Missy Elliott","sections":"songs,tag:rap","title":"Missy Elliott – The Rain (Supa Dupa Fly) Lyrics | Genius Lyrics"},"controller_and_action":"songs#show","dmp_data_layer":{"page":{"type":"song","artists":["Missy Elliott"],"artist_ids":["[1529]"],"albums":["Supa Dupa Fly ","Respect M.E."],"album_ids":["[20205]","[335070]"],"genres":["Alternative","Experimental","Rap 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Elliott"]},{"name":"is_explicit","values":["false"]},{"name":"pageviews","values":["84336"]},{"name":"primary_tag_id","values":["1434"]},{"name":"tag_id","values":["2757","2381","1434"]},{"name":"song_tier","values":["E"]},{"name":"topic","values":[]},{"name":"has_song_story","values":["false"]},{"name":"in_top_10","values":["false"]},{"name":"artist_in_top_10","values":["false"]},{"name":"album_in_top_10","values":["false"]},{"name":"new_release","values":["false"]},{"name":"release_month","values":["199705"]},{"name":"release_year","values":["1997"]},{"name":"release_decade","values":["1990"]},{"name":"in_top_10_rap","values":["false"]},{"name":"in_top_10_rock","values":["false"]},{"name":"in_top_10_country","values":["false"]},{"name":"in_top_10_r_and_b","values":["false"]},{"name":"in_top_10_pop","values":["false"]},{"name":"template","values":["song"]},{"name":"environment","values":["production"]},{"name":"platform","values":["web"]}],"pending_question_count":0,"show_edit_form":false,"show_featured_question":false,"spotify_referral":false,"annotation_previews":[],"default_questions":[],"featured_question":null,"lyrics_data":{"client_timestamps":{"lyrics_updated_at":1577466781,"updated_by_human_at":1581969563},"body":{"html":"<p>[Intro: Missy Elliott &amp; <i>Timbaland</i>]<br>\n[*Yawning*]<br>\n<i>Run the track</i><br>\n<br>\n[Chorus: Missy Elliott &amp; <i>Ann Peebles</i>]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-3216794\" data-id=\"3216794\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"3216794\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Me I'm super fly, super dupa fly</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(I can't stand the rain)</i></a> <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-3216794\" data-id=\"3216794\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"3216794\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Supa dupa fly</a><br>\nMe I'm super fly, <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(against my window)</i></a> super dupa fly<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(I can't stand the rain)</i></a> supa dupa fly<br>\nMe I'm super fly, <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(against my window)</i></a> super dupa fly<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(I can't stand the rain)</i></a> supa dupa fly<br>\nMe I'm super fly, <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(against my window)</i></a><br>\n<br>\n[Verse 1: Missy Elliott]<br>\nWhen the rain hits my window<br>\nI take and *cough* me some indo<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4462\" data-id=\"4462\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4462\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Me and Timbaland, ooh, we sang a jangle<br>\nWe so tight that you get our styles tangled</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-5273\" data-id=\"5273\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"5273\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Sway on dosie-do like you loco</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4465\" data-id=\"4465\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4465\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Can we get kinky tonight?<br>\nLike Coko, so-so</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-2805172\" data-id=\"2805172\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"2805172\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">You don't wanna play with my Yo-Yo</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4461\" data-id=\"4461\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4461\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">I smoke my hydro on the D-low (D-D-D-D-D-low)</a><br>\n<br>\n[Hook: <i>Ann Peebles</i>]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>I can't stand the rain against my window</i><br>\n<i>I can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain against my window</i></a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">I can't stand the rain</a><br>\n<br>\n[Verse 2: Missy Elliott]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4460\" data-id=\"4460\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4460\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"1\">Beep, beep, who got the keys to the Jeep, vroom</a><br>\nI'm driving to the beach<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4472\" data-id=\"4472\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4472\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Top down, loud sounds,</a> see my peeps<br>\nGive them pounds, now look who it be<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4459\" data-id=\"4459\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4459\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">It be me, me, me and Timothy</a><br>\nLook like it's 'bout to rain, what a shame<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-5272\" data-id=\"5272\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"5272\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">I got the Armor-All to shine up the stain</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4473\" data-id=\"4473\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4473\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Oh, Missy, try to maintain</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4471\" data-id=\"4471\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4471\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Icky-icky-icky-icky-icky-icky-icky</a><br>\n<br>\n[Hook: <i>Ann Peebles</i>]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>I can't stand the rain against my window</i><br>\n<i>I can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain against my window</i></a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">I can't stand the rain</a><br>\n<br>\n[Verse 3: Missy Elliott &amp; <i>Ann Peebles</i>]<br>\nI feel the wind<br>\n5, 6, 7, 8, 9, 10<br>\n9, 10<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4457\" data-id=\"4457\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4457\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Begin, I sit on Hills like Lauryn</a><br>\nUntil the rain starts coming down, pouring<br>\nChill, I got my umbrella<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4476\" data-id=\"4476\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4476\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">My finger waves these days, they fall like Humpty</a><br>\nChumpy, I break up with him before he dump me<br>\nTo have me, <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(I can't stand the rain)</i>,</a> yes, you lucky <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(against my window)</i></a><br>\n<br>\n[Outro: <i>Ann Peebles</i>]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>I can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI I can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain</i></a></p>\n\n"}},"next_track":{"number":5,"song":{"_type":"song","annotation_count":7,"api_path":"/songs/33231","full_title":"Beep Me 911 by Missy Elliott (Ft. 702 & Magoo)","header_image_thumbnail_url":"https://images.genius.com/e83677dff579a29f747287fb5f4424d8.300x257x1.jpg","header_image_url":"https://images.genius.com/e83677dff579a29f747287fb5f4424d8.599x513x1.jpg","id":33231,"instrumental":false,"lyrics_owner_id":50,"lyrics_state":"complete","lyrics_updated_at":1566877059,"path":"/Missy-elliott-beep-me-911-lyrics","pyongs_count":1,"song_art_image_thumbnail_url":"https://images.genius.com/e83677dff579a29f747287fb5f4424d8.300x257x1.jpg","song_art_image_url":"https://images.genius.com/e83677dff579a29f747287fb5f4424d8.599x513x1.jpg","stats":{"unreviewed_annotations":4,"hot":false,"pageviews":7375},"title":"Beep Me 911","title_with_featured":"Beep Me 911 (Ft. 702 & Magoo)","updated_by_human_at":1578332231,"url":"https://genius.com/Missy-elliott-beep-me-911-lyrics","primary_artist":{"_type":"artist","api_path":"/artists/1529","header_image_url":"https://images.genius.com/d91c82fa4ae2f1016fadc1c24fbbc59e.1000x333x1.jpg","id":1529,"image_url":"https://images.genius.com/085828b7d79bf8cf068b1557ca7a5e4c.1000x1000x1.jpg","index_character":"m","is_meme_verified":false,"is_verified":false,"name":"Missy Elliott","slug":"Missy-elliott","url":"https://genius.com/artists/Missy-elliott"}}},"pinned_questions":[{"_type":"question","body":"How did this song chart?","contributors_count":1,"created_at":1503928969,"default_key":null,"has_voters":false,"id":106256,"pin_order":65536.0,"state":"pinned","url":"https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics/questions/106256","votes_total":0,"current_user_metadata":{"permissions":[],"excluded_permissions":["vote","add_answer","update_answer_source","edit","archive","pin","unpin","move","add_verified_answer"],"iq_by_action":{},"interactions":{"vote":null}},"answer":{"_type":"answer","body":{"html":"<p>This song peaked at <strong>#4</strong> on <em>Billboard’s</em> Hot R&amp;B/Hip-Hop Songs.</p>","markdown":"This song peaked at **#4** on *Billboard's* Hot R&B/Hip-Hop Songs."},"created_at":1503928996,"editorial_state":"normal","has_voters":false,"id":50217,"votes_total":0,"current_user_metadata":{"permissions":[],"excluded_permissions":["vote","edit","destroy"],"interactions":{"vote":null}},"answer_source":null,"authors":[{"_type":"user_attribution","attribution":1.0,"pinned_role":null,"user":{"_type":"user","about_me_summary":"TWO-TIME GENIUS OLYMPIC GOLD MEDALIST\n\nTHREE-TIME RED REMOVERS CHAMPION\n\nHead of Basketball Reporting\n\nBest Web Annotator of 2016 (never forget the GWA)\n\nPlease contact zacharymahabir16@gmail.com for broadcast/journalistic/non-site inquiries","api_path":"/users/53993","avatar":{"tiny":{"url":"https://images.genius.com/avatars/tiny/ae9f7716ee12a6346b3f127faea1f2f4","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://images.genius.com/avatars/thumb/ae9f7716ee12a6346b3f127faea1f2f4","bounding_box":{"width":32,"height":32}},"small":{"url":"https://images.genius.com/avatars/small/ae9f7716ee12a6346b3f127faea1f2f4","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://images.genius.com/avatars/medium/ae9f7716ee12a6346b3f127faea1f2f4","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://images.genius.com/e55a15d76c986fc5c68ba45e899f05a0.914x786x1.png","human_readable_role_for_display":"Editor","id":53993,"iq":342299,"is_meme_verified":false,"is_verified":false,"login":"ZacharyMahabir","name":"Zachary Mahabir","role_for_display":"editor","url":"https://genius.com/ZacharyMahabir","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}}}]},"author":{"_type":"user","about_me_summary":"TWO-TIME GENIUS OLYMPIC GOLD MEDALIST\n\nTHREE-TIME RED REMOVERS CHAMPION\n\nHead of Basketball Reporting\n\nBest Web Annotator of 2016 (never forget the GWA)\n\nPlease contact zacharymahabir16@gmail.com for broadcast/journalistic/non-site inquiries","api_path":"/users/53993","avatar":{"tiny":{"url":"https://images.genius.com/avatars/tiny/ae9f7716ee12a6346b3f127faea1f2f4","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://images.genius.com/avatars/thumb/ae9f7716ee12a6346b3f127faea1f2f4","bounding_box":{"width":32,"height":32}},"small":{"url":"https://images.genius.com/avatars/small/ae9f7716ee12a6346b3f127faea1f2f4","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://images.genius.com/avatars/medium/ae9f7716ee12a6346b3f127faea1f2f4","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://images.genius.com/e55a15d76c986fc5c68ba45e899f05a0.914x786x1.png","human_readable_role_for_display":"Editor","id":53993,"iq":342299,"is_meme_verified":false,"is_verified":false,"login":"ZacharyMahabir","name":"Zachary Mahabir","role_for_display":"editor","url":"https://genius.com/ZacharyMahabir","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}}}],"preloaded_referents":[{"_type":"referent","annotator_id":12,"annotator_login":"MoMilli","api_path":"/referents/4460","classification":"accepted","fragment":"Beep, beep, who got the keys to the Jeep, vroom","id":4460,"ios_app_url":"genius://referents/4460","is_description":false,"is_image":false,"path":"/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom","range":{"content":"Beep, beep, who got the keys to the Jeep, vroom"},"song_id":128,"url":"https://genius.com/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom","verified_annotator_ids":[],"current_user_metadata":{"permissions":[],"excluded_permissions":["add_pinned_annotation_to","add_community_annotation_to"],"relationships":{}},"tracking_paths":{"aggregate":"/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom","concurrent":"/Missy-elliott-the-rain-supa-dupa-fly-lyrics"},"twitter_share_message":"“The question was presumably answered by the Jamaican duo Tanto Metro and Devonte that same year …” —@Genius","annotatable":{"_type":"song","api_path":"/songs/128","client_timestamps":{"updated_by_human_at":1581969563,"lyrics_updated_at":1577466781},"context":"Missy Elliott","id":128,"image_url":"https://images.genius.com/a1543159342cd360256c12b42185771f.975x1000x1.jpg","link_title":"The Rain (Supa Dupa Fly) by Missy Elliott","title":"The Rain (Supa Dupa Fly)","type":"Song","url":"https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics"},"annotations":[{"_type":"annotation","api_path":"/annotations/4460","being_created":false,"body":{"html":"<p>The question was presumably answered by the Jamaican duo <a href=\"https://genius.com/artists/Tanto-metro\" rel=\"noopener\">Tanto Metro</a> and <a href=\"https://genius.com/artists/Devonte\" rel=\"noopener\" data-api_path=\"/artists/1820591\">Devonte</a> that same year in 1997 in their song, <a href=\"https://genius.com/Tanto-metro-everyone-falls-in-love-lyrics\" rel=\"noopener\" data-api_path=\"/songs/33055\">“Everyone Falls in Love”</a>:</p>\n\n<blockquote><p>Beep, beep the singer got the keys to the Jeep (vroom)</p></blockquote>\n\n<p><img src=\"https://images.rapgenius.com/2fc40dbef71ef77401ec1c5221cb1a27.500x500x1.jpg\" alt=\"\" width=\"500\" height=\"500\" data-animated=\"false\"></p>\n\n<p>Beenie Man’s may also have referenced this line later in the year in his song <a href=\"https://genius.com/Beenie-man-who-am-i-sim-simma-lyrics\" rel=\"noopener\" data-api_path=\"/songs/33113\">“Who Am I”</a>:</p>\n\n<blockquote><p>Sim Simma, who got the keys to my Beemer?</p></blockquote>","plain":"The question was presumably answered by the Jamaican duo Tanto Metro and Devonte that same year in 1997 in their song, “Everyone Falls in Love”:\n\nBeep, beep the singer got the keys to the Jeep (vroom)\n\n\n\nBeenie Man’s may also have referenced this line later in the year in his song “Who Am I”:\n\nSim Simma, who got the keys to my Beemer?","markdown":"The question was presumably answered by the Jamaican duo [Tanto Metro](/artists/Tanto-metro) and [Devonte](/artists/Devonte) that same year in 1997 in their song, [\"Everyone Falls in Love\"](http://genius.com/Tanto-metro-everyone-falls-in-love-lyrics):\n\n>Beep, beep the singer got the keys to the Jeep (vroom)\n\nhttp://images.rapgenius.com/2fc40dbef71ef77401ec1c5221cb1a27.500x500x1.jpg\n\nBeenie Man's may also have referenced this line later in the year in his song [\"Who Am I\"](/Beenie-man-who-am-i-sim-simma-lyrics):\n\n>Sim Simma, who got the keys to my Beemer?"},"comment_count":1,"community":true,"created_at":1255409380,"custom_preview":null,"deleted":false,"embed_content":"<blockquote class='rg_standalone_container' data-src='//genius.com/annotations/4460/standalone_embed'><a href='https://genius.com/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom'>Beep, beep, who got the keys to the Jeep, vroom</a><br><a href='https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics'>&#8213; Missy Elliott – The Rain (Supa Dupa Fly)</a></blockquote><script async crossorigin src='//genius.com/annotations/load_standalone_embeds.js'></script>","has_voters":true,"id":4460,"needs_exegesis":false,"pinned":false,"proposed_edit_count":0,"pyongs_count":null,"referent_id":4460,"share_url":"https://genius.com/4460","source":null,"state":"accepted","twitter_share_message":"“The question was presumably answered by the Jamaican duo Tanto Metro and Devonte that same year in 1997 …” —@Genius","url":"https://genius.com/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom","verified":false,"votes_total":16,"current_user_metadata":{"permissions":["create_comment"],"excluded_permissions":["vote","edit","cosign","uncosign","destroy","accept","reject","see_unreviewed","clear_votes","propose_edit_to","pin_to_profile","unpin_from_profile","update_source","edit_custom_preview"],"interactions":{"cosign":false,"pyong":false,"vote":null},"iq_by_action":{}},"accepted_by":{"_type":"user","about_me_summary":"Interests: Art, Love, Beauty….\n\nHomeland: Iran (via San Fernando Valley)\n\nFavorite rapper: Gucci Mane\n\nFavorite whip: Audi (I’m a simple man….)\n\nFavorite rap line: http://rapgenius.com/18330\n\nPS check out my flows: http://rapgenius.com/artists/Maboo","api_path":"/users/7","avatar":{"tiny":{"url":"https://s3.amazonaws.com/rapgenius/avatars/tiny/FPUgkjhRQyqsg9SfDfhx.jpg","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://s3.amazonaws.com/rapgenius/avatars/thumb/FPUgkjhRQyqsg9SfDfhx.jpg","bounding_box":{"width":32,"height":32}},"small":{"url":"https://s3.amazonaws.com/rapgenius/avatars/small/FPUgkjhRQyqsg9SfDfhx.jpg","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://s3.amazonaws.com/rapgenius/avatars/medium/FPUgkjhRQyqsg9SfDfhx.jpg","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://s3.amazonaws.com/rapgenius/avatars/medium/FPUgkjhRQyqsg9SfDfhx.jpg","human_readable_role_for_display":"Contributor","id":7,"iq":478398,"is_meme_verified":false,"is_verified":false,"login":"Maboo","name":"Maboo","role_for_display":"contributor","url":"https://genius.com/Maboo","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}},"authors":[{"_type":"user_attribution","attribution":1.0,"pinned_role":null,"user":{"_type":"user","about_me_summary":"Doctor, writer, “disease detective.” Genius editor/consultant 2009-?.\n\nCore values:\nhttps://jamanetwork.com/journals/jama/fullarticle/2753865","api_path":"/users/12","avatar":{"tiny":{"url":"https://s3.amazonaws.com/rapgenius/avatars/tiny/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://s3.amazonaws.com/rapgenius/avatars/thumb/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":32,"height":32}},"small":{"url":"https://s3.amazonaws.com/rapgenius/avatars/small/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://s3.amazonaws.com/rapgenius/avatars/medium/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://s3.amazonaws.com/rapgenius/avatars/medium/QZnzZ0BURDmkNKcnseyF.jpg","human_readable_role_for_display":"Editor","id":12,"iq":80931,"is_meme_verified":false,"is_verified":false,"login":"MoMilli","name":"MoMilli","role_for_display":"editor","url":"https://genius.com/MoMilli","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}}}],"cosigned_by":[],"created_by":{"_type":"user","about_me_summary":"Doctor, writer, “disease detective.” Genius editor/consultant 2009-?.\n\nCore values:\nhttps://jamanetwork.com/journals/jama/fullarticle/2753865","api_path":"/users/12","avatar":{"tiny":{"url":"https://s3.amazonaws.com/rapgenius/avatars/tiny/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://s3.amazonaws.com/rapgenius/avatars/thumb/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":32,"height":32}},"small":{"url":"https://s3.amazonaws.com/rapgenius/avatars/small/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://s3.amazonaws.com/rapgenius/avatars/medium/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://s3.amazonaws.com/rapgenius/avatars/medium/QZnzZ0BURDmkNKcnseyF.jpg","human_readable_role_for_display":"Editor","id":12,"iq":80931,"is_meme_verified":false,"is_verified":false,"login":"MoMilli","name":"MoMilli","role_for_display":"editor","url":"https://genius.com/MoMilli","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}},"rejection_comment":null,"top_comment":{"_type":"comment","api_path":"/comments/6380868","body":{"html":"<p>Tum 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<h1
class="header_with_cover_art-primary_info-title "
>The Rain (Supa Dupa Fly)</h1>
<h2>
<a
href="https://genius.com/artists/Missy-elliott"
class="header_with_cover_art-primary_info-primary_artist"
>Missy Elliott</a>
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<h3>
</h3>
<h3>
<div class="metadata_unit ">
<span class="metadata_unit-label">Produced by</span>
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<a href="https://genius.com/artists/Timbaland">Timbaland</a>
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</h3>
<h3>
<div class="metadata_unit ">
<span class="metadata_unit-label">Album</span>
<span class="metadata_unit-info"><a href="https://genius.com/albums/Missy-elliott/Supa-dupa-fly">Supa Dupa Fly </a></span>
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<h2 class="text_label text_label--gray text_label--x_small_text_size u-top_margin">The Rain (Supa Dupa Fly) Lyrics</h2>
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<!--sse-->
<p>[Intro: Missy Elliott & <i>Timbaland</i>]<br>
[*Yawning*]<br>
<i>Run the track</i><br>
<br>
[Chorus: Missy Elliott & <i>Ann Peebles</i>]<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-3216794" data-id="3216794" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="3216794" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Me I'm super fly, super dupa fly</a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
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}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>(I can't stand the rain)</i></a> <a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-3216794" data-id="3216794" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="3216794" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Supa dupa fly</a><br>
Me I'm super fly, <a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>(against my window)</i></a> super dupa fly<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>(I can't stand the rain)</i></a> supa dupa fly<br>
Me I'm super fly, <a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>(against my window)</i></a> super dupa fly<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>(I can't stand the rain)</i></a> supa dupa fly<br>
Me I'm super fly, <a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>(against my window)</i></a><br>
<br>
[Verse 1: Missy Elliott]<br>
When the rain hits my window<br>
I take and *cough* me some indo<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4462" data-id="4462" class="referent" ng-click="open()" ng-class="{
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}" prevent-default-click="" annotation-fragment="4462" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Me and Timbaland, ooh, we sang a jangle<br>
We so tight that you get our styles tangled</a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-5273" data-id="5273" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="5273" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Sway on dosie-do like you loco</a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4465" data-id="4465" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4465" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Can we get kinky tonight?<br>
Like Coko, so-so</a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-2805172" data-id="2805172" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="2805172" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">You don't wanna play with my Yo-Yo</a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4461" data-id="4461" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4461" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">I smoke my hydro on the D-low (D-D-D-D-D-low)</a><br>
<br>
[Hook: <i>Ann Peebles</i>]<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>I can't stand the rain against my window</i><br>
<i>I can't stand the rain against my window<br>
I can't stand the rain against my window<br>
I can't stand the rain against my window</i></a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">I can't stand the rain</a><br>
<br>
[Verse 2: Missy Elliott]<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4460" data-id="4460" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4460" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="1">Beep, beep, who got the keys to the Jeep, vroom</a><br>
I'm driving to the beach<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4472" data-id="4472" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4472" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Top down, loud sounds,</a> see my peeps<br>
Give them pounds, now look who it be<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4459" data-id="4459" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4459" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">It be me, me, me and Timothy</a><br>
Look like it's 'bout to rain, what a shame<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-5272" data-id="5272" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="5272" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">I got the Armor-All to shine up the stain</a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4473" data-id="4473" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4473" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Oh, Missy, try to maintain</a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4471" data-id="4471" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4471" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Icky-icky-icky-icky-icky-icky-icky</a><br>
<br>
[Hook: <i>Ann Peebles</i>]<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>I can't stand the rain against my window</i><br>
<i>I can't stand the rain against my window<br>
I can't stand the rain against my window<br>
I can't stand the rain against my window</i></a><br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">I can't stand the rain</a><br>
<br>
[Verse 3: Missy Elliott & <i>Ann Peebles</i>]<br>
I feel the wind<br>
5, 6, 7, 8, 9, 10<br>
9, 10<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4457" data-id="4457" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4457" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">Begin, I sit on Hills like Lauryn</a><br>
Until the rain starts coming down, pouring<br>
Chill, I got my umbrella<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4476" data-id="4476" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4476" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0">My finger waves these days, they fall like Humpty</a><br>
Chumpy, I break up with him before he dump me<br>
To have me, <a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>(I can't stand the rain)</i>,</a> yes, you lucky <a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>(against my window)</i></a><br>
<br>
[Outro: <i>Ann Peebles</i>]<br>
<a href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" data-id="4469" class="referent" ng-click="open()" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" prevent-default-click="" annotation-fragment="4469" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" classification="accepted" image="false" pending-editorial-actions-count="0"><i>I can't stand the rain against my window<br>
I can't stand the rain against my window<br>
I can't stand the rain against my window<br>
I can't stand the rain<br>
I can't stand the rain<br>
I can't stand the rain<br>
I can't stand the rain<br>
I can't stand the rain against my window<br>
I can't stand the rain against my window<br>
I I can't stand the rain against my window<br>
I can't stand the rain against my window<br>
I can't stand the rain<br>
I can't stand the rain<br>
I can't stand the rain<br>
I can't stand the rain</i></a></p>
<!--/sse-->
</div>
</div>
<div initial-content-for="recirculated_content">
<div class="u-xx_large_vertical_margins">
<div class="text_label text_label--gray">More on Genius</div>
<a href="https://genius.com/a/get-ur-freak-on-almost-didn-t-make-it-on-missy-elliott-s-miss-e-so-addictive" class="recirculated_content">
<div class="recirculated_content-image"></div>
<div class="recirculated_content-info">
<div class="recirculated_content-title">“Get Ur Freak On” Almost Didn’t Make It On Missy Elliott’s ‘Miss E ...So Addictive’</div>
</div>
</a>
</div>
</div>
</div>
</div>
<div class="column_layout-column_span column_layout-column_span--secondary u-top_margin column_layout-flex_column">
<div class="column_layout-column_span-initial_content">
<div class="dfp_unit u-x_large_bottom_margin dfp_unit--in_read">
<div
style="
width: 300px;
height: 250px;
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></div>
</div>
<div class="annotation_label">
<h3 class="u-inline">
About “The Rain (Supa Dupa Fly)”
</h3>
</div>
<div class="rich_text_formatting">
<p>“The Rain” is as impressionistic as any lyric in rap; it sets a numinous mood. Furthermore,</p>
<blockquote><p><a href="http://www.songfacts.com/detail.php?id=10542" rel="noopener nofollow">this was Missy Elliott’s <em>first single</em>, and it also spawned her first music video. Timbaland produced and co-wrote the song and appeared in the video (the beginning of Elliott’s longtime collaboration with director Hype Williams until he was replaced by Dave Meyers). Elliott played up her size in the video by wearing an enormous inflated trash bag – a “screw you” to all the execs who told her she was too fat to make it in the music business.</a></p></blockquote>
<p><img src="https://images.rapgenius.com/ba8f4772afad0332121b801640df1f36.500x375x44.gif" alt="" width="500" height="375" data-animated="true"></p>
<p>The song samples <a href="https://genius.com/Ann-peebles-i-cant-stand-the-rain-lyrics" rel="noopener" data-api_path="/songs/521816">“I Can’t Stand The Rain”</a> by <a href="https://genius.com/artists/Ann-peebles" rel="noopener" data-api_path="/artists/36895">Ann Peebles</a>.</p>
</div>
<div class="song_metadata u-xx_large_bottom_margin"></div>
</div>
<div class="column_layout-column_span-initial_content">
<div initial-content-for="question_list">
<ul>
<li class="question question--bottom_border ">
<div class="u-bottom_margin">
<h3 class="annotation_label">How did this song chart?</h3>
</div>
<div class="rich_text_formatting rich_text_formatting--no_vertical_margins">
<p>This song peaked at <strong>#4</strong> on <em>Billboard’s</em> Hot R&B/Hip-Hop Songs.</p>
</div>
</li>
</ul>
</div>
<div initial-content-for="track_info">
<div class="u-xx_large_vertical_margins show_tiny_edit_button_on_hover">
<h3 class="text_label u-x_small_bottom_margin">"The Rain (Supa Dupa Fly)" Track Info</h3>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Written By</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Bernard-miller">Bernard Miller</a>, <a href="https://genius.com/artists/Ann-peebles">Ann Peebles</a>, <a href="https://genius.com/artists/Don-bryant">Don Bryant</a> & <span class="metadata_unit-show_more">2 more</span>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Video Director</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Hype-williams">Hype Williams</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mixed At</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Manhattan-center-studios-new-york-ny">Manhattan Center Studios, New York, NY</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mastered at</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Powers-house-of-sound-nyc">Powers House Of Sound, NYC</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Engineer</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Jimmy-douglass">Jimmy Douglass</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Recorded At</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Master-sound-studios">Master Sound Studios</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mixing Engineer Assistant</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Richard-clark">Richard Clark</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Assistant Engineer</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Andrew-coleman">Andrew Coleman</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Additional Vocals</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Timbaland">Timbaland</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Lead Vocals</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Missy-elliott">Missy Elliott</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mastering Engineer</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Herb-powers">Herb Powers</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mixing Engineer</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Jimmy-douglass">Jimmy Douglass</a> & <a href="https://genius.com/artists/Timbaland">Timbaland</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Recorded At</span>
<span class="metadata_unit-info metadata_unit-info--text_only">Master Sound Studios, Virginia Beach</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Release Date</span>
<span class="metadata_unit-info metadata_unit-info--text_only">May 20, 1997</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Samples</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Ann-peebles-i-cant-stand-the-rain-lyrics">I Can't Stand the Rain by Ann Peebles</a>
</div>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Sampled In</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Timbaland-and-magoo-beep-beep-lyrics">Beep Beep by Timbaland & Magoo (Ft. Missy Elliott)</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Timbaland-and-magoo-feel-it-lyrics">Feel It by Timbaland & Magoo</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Method-man-and-redman-the-lyrics">The ? by Method Man & Redman</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Wiz-khalifa-the-rain-lyrics">The Rain by Wiz Khalifa</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Mick-jenkins-rain-lyrics">Rain by Mick Jenkins</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/G-yamazawa-supa-dupa-fly-lyrics">Supa Dupa Fly by G YAMAZAWA</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Heath-mcnease-zulu-nation-lyrics">Zulu Nation by Heath McNease</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Phresh-kyd-supa-dupa-steez-lyrics">Supa Dupa Steez by Phresh Kyd</a>
</div>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Interpolates</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Tanto-metro-and-devonte-everyone-falls-in-love-lyrics">Everyone Falls in Love by Tanto Metro & Devonte</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Yo-yo-you-cant-play-with-my-yo-yo-lyrics">You Can't Play With My Yo-Yo by Yo-Yo (Ft. Ice Cube)</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Swv-can-we-lyrics">Can We by SWV (Ft. Missy Elliott)</a>
</div>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Interpolated By</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Beenie-man-who-am-i-sim-simma-lyrics">Who Am I? (Sim Simma) by Beenie Man</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Trizzy-trae-energy-lyrics">Energy by Trizzy Trae</a>
</div>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Remixed By</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Slwjmz-sj-supermix-lyrics">SuperMIX by SLWJMZ (SJ)</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Kaan-rain-supafly-remix-lyrics">Rain (Supafly Remix) by K.A.A.N. (Ft. Norman Dean)</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Gemini-the-twiins-supa-gemini-lyrics">Supa Gemini by Gemini The Twiins</a>
</div>
</span>
</div>
</div>
</div>
<div initial-content-for="album">
<div class="u-xx_large_vertical_margins">
<div class="song_album u-bottom_margin">
<a href="https://genius.com/albums/Missy-elliott/Supa-dupa-fly" class="song_album-album_art" title="Supa Dupa Fly ">
<img alt="Https%3a%2f%2fimages" src="https://t2.genius.com/unsafe/64x64/https%3A%2F%2Fimages.genius.com%2F2f8d14420255722b5068b9dac8cfd6ef.1000x1000x1.jpg" srcset="https://t2.genius.com/unsafe/128x128/https%3A%2F%2Fimages.genius.com%2F2f8d14420255722b5068b9dac8cfd6ef.1000x1000x1.jpg 2x" />
</a>
<div class="song_album-info">
<a href="https://genius.com/albums/Missy-elliott/Supa-dupa-fly" title="Supa Dupa Fly " class="song_album-info-title">
Supa Dupa Fly
</a>
<a href="https://genius.com/artists/Missy-elliott" class="song_album-info-artist" title="Supa Dupa Fly ">Missy Elliott</a>
</div>
</div>
<div class="track_listing track_listing--columns">
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">1. </span>
<a href="https://genius.com/Missy-elliott-bustas-intro-lyrics" title="Busta’s Intro">
Busta’s Intro
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">2. </span>
<a href="https://genius.com/Missy-elliott-hit-em-wit-da-hee-lyrics" title="Hit ‘Em Wit’ Da Hee">
Hit ‘Em Wit’ Da Hee
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">3. </span>
<a href="https://genius.com/Missy-elliott-sock-it-2-me-lyrics" title="Sock It 2 Me">
Sock It 2 Me
</a>
</div>
</div>
<div>
<div class="track_listing-track track_listing-track--current">
<span class="track_listing-track_number">4. </span>
<span>
The Rain (Supa Dupa Fly)
</span>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">5. </span>
<a href="https://genius.com/Missy-elliott-beep-me-911-lyrics" title="Beep Me 911">
Beep Me 911
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">6. </span>
<a href="https://genius.com/Missy-elliott-they-dont-wanna-fuck-wit-me-lyrics" title="They Don’t Wanna Fuck Wit Me">
They Don’t Wanna Fuck Wit Me
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">7. </span>
<a href="https://genius.com/Missy-elliott-pass-da-blunt-lyrics" title="Pass Da Blunt">
Pass Da Blunt
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">8. </span>
<a href="https://genius.com/Missy-elliott-bite-our-style-interlude-lyrics" title="Bite Our Style (Interlude)">
Bite Our Style (Interlude)
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">9. </span>
<a href="https://genius.com/Missy-elliott-friendly-skies-lyrics" title="Friendly Skies">
Friendly Skies
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">10. </span>
<a href="https://genius.com/Missy-elliott-best-friends-lyrics" title="Best Friends">
Best Friends
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">11. </span>
<a href="https://genius.com/Missy-elliott-dont-be-commin-in-my-face-lyrics" title="Don’t Be Commin’ (In My Face)">
Don’t Be Commin’ (In My Face)
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">12. </span>
<a href="https://genius.com/Missy-elliott-izzy-izzy-ahh-lyrics" title="Izzy Izzy Ahh">
Izzy Izzy Ahh
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">13. </span>
<a href="https://genius.com/Missy-elliott-why-you-hurt-me-lyrics" title="Why You Hurt Me">
Why You Hurt Me
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">14. </span>
<a href="https://genius.com/Missy-elliott-im-talkin-lyrics" title="I’m Talkin">
I’m Talkin
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">15. </span>
<a href="https://genius.com/Missy-elliott-gettaway-lyrics" title="Gettaway">
Gettaway
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">16. </span>
<a href="https://genius.com/Missy-elliott-bustas-outro-lyrics" title="Busta’s Outro">
Busta’s Outro
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">17. </span>
<a href="https://genius.com/Missy-elliott-missys-finale-lyrics" title="Missy’s Finale">
Missy’s Finale
</a>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
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<img
src="https://loadus.exelator.com/load/?g=4&j=0&p=1183&page-album_ids=%5B20205%5D%2C%5B335070%5D&page-album_in_top_10=false&page-albums=Supa+Dupa+Fly+%2CRespect+M.E.&page-artist_ids=%5B1529%5D&page-artist_in_top_10=false&page-artists=Missy+Elliott&page-genre_ids=%5B2757%5D%2C%5B2381%5D%2C%5B1434%5D&page-genres=Alternative%2CExperimental%2CRap+Genius&page-in_top_10=false&page-new_release=false&page-release_decade=1990&page-release_month=199705&page-release_year=1997&page-type=song&user_signed_in=false"
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How can we extract just the song lyrics from this messy soup of a document? Luckily there’s a Python library that can help us called BeautifulSoup, which parses HTML documents.
To understand BeautifulSoup and HTML, we’re going to briefly depart from our Missy Elliot lyrics challenge to consider a much simpler website. This toy website was made by the poet, programmer, and professor Allison Parrish explicitly for the purposes of teaching BeautifulSoup.
HTML#
Parrish’s website is titled “Kittens and the TV Shows They Love.” It can be found at the following URL: http://static.decontextualize.com/kittens.html
If we use our requests library on this Kittens TV website, this is what we get:
response = requests.get("http://static.decontextualize.com/kittens.html")
html_string = response.text
print(html_string)
<!doctype html>
<html>
<head>
<title>Kittens!</title>
<style type="text/css">
span.lastcheckup { font-family: "Courier", fixed; font-size: 11px; }
</style>
</head>
<body>
<h1>Kittens and the TV Shows They Love</h1>
<div class="kitten">
<h2>Fluffy</h2>
<div><img src="http://placekitten.com/120/120"></div>
<ul class="tvshows">
<li>
<a href="http://www.imdb.com/title/tt0106145/">Deep Space Nine</a>
</li>
<li>
<a href="http://www.imdb.com/title/tt0088576/">Mr. Belvedere</a>
</li>
</ul>
Last check-up: <span class="lastcheckup">2014-01-17</span>
</div>
<div class="kitten">
<h2>Monsieur Whiskeurs</h2>
<div><img src="http://placekitten.com/110/110"></div>
<ul class="tvshows">
<li>
<a href="http://www.imdb.com/title/tt0106179/">The X-Files</a>
</li>
<li>
<a href="http://www.imdb.com/title/tt0098800/">Fresh Prince</a>
</li>
</ul>
Last check-up: <span class="lastcheckup">2013-11-02</span>
</div>
</body>
</html>
HTML Attributes, Classes, and IDs#
HTML elements sometimes come with even more information inside a tag. This will often be a keyword (like class or id) followed by an equals sign = and a further descriptor such as <div class="kitten">
We need to know about tags as well as attributes, classes, and IDs because this is how we’re going to extract specific HTML data with BeautifulSoup.
BeautifulSoup#
from bs4 import BeautifulSoup
To make a BeautifulSoup document, we call BeautifulSoup() with two parameters: the html_string from our HTTP request and the kind of parser that we want to use, which will always be "html.parser" for our purposes.
response = requests.get("http://static.decontextualize.com/kittens.html")
html_string = response.text
document = BeautifulSoup(html_string, "html.parser")
document
<!DOCTYPE doctype html>
<html>
<head>
<title>Kittens!</title>
<style type="text/css">
span.lastcheckup { font-family: "Courier", fixed; font-size: 11px; }
</style>
</head>
<body>
<h1>Kittens and the TV Shows They Love</h1>
<div class="kitten">
<h2>Fluffy</h2>
<div><img src="http://placekitten.com/120/120"/></div>
<ul class="tvshows">
<li>
<a href="http://www.imdb.com/title/tt0106145/">Deep Space Nine</a>
</li>
<li>
<a href="http://www.imdb.com/title/tt0088576/">Mr. Belvedere</a>
</li>
</ul>
Last check-up: <span class="lastcheckup">2014-01-17</span>
</div>
<div class="kitten">
<h2>Monsieur Whiskeurs</h2>
<div><img src="http://placekitten.com/110/110"/></div>
<ul class="tvshows">
<li>
<a href="http://www.imdb.com/title/tt0106179/">The X-Files</a>
</li>
<li>
<a href="http://www.imdb.com/title/tt0098800/">Fresh Prince</a>
</li>
</ul>
Last check-up: <span class="lastcheckup">2013-11-02</span>
</div>
</body>
</html>
Extract HTML Element#
We can use the .find() method to find and extract certain elements, such as a main header.
document.find("h1")
<h1>Kittens and the TV Shows They Love</h1>
If we want only the text contained between those tags, we can use .text to extract just the text.
document.find("h1").text
'Kittens and the TV Shows They Love'
type(document.find("h1").text)
str
Find the HTML element that contains an image.
document.find("img")
Show code cell output
<img src="http://placekitten.com/120/120"/>
Extract Multiple HTML Elements#
You can also extract multiple HTML elements at a time with .find_all()
document.find_all("img")
[<img src="http://placekitten.com/120/120"/>,
<img src="http://placekitten.com/110/110"/>]
document.find_all("div", attrs={"class": "kitten"})
Show code cell output
[<div class="kitten">
<h2>Fluffy</h2>
<div><img src="http://placekitten.com/120/120"/></div>
<ul class="tvshows">
<li>
<a href="http://www.imdb.com/title/tt0106145/">Deep Space Nine</a>
</li>
<li>
<a href="http://www.imdb.com/title/tt0088576/">Mr. Belvedere</a>
</li>
</ul>
Last check-up: <span class="lastcheckup">2014-01-17</span>
</div>, <div class="kitten">
<h2>Monsieur Whiskeurs</h2>
<div><img src="http://placekitten.com/110/110"/></div>
<ul class="tvshows">
<li>
<a href="http://www.imdb.com/title/tt0106179/">The X-Files</a>
</li>
<li>
<a href="http://www.imdb.com/title/tt0098800/">Fresh Prince</a>
</li>
</ul>
Last check-up: <span class="lastcheckup">2013-11-02</span>
</div>]
document.find("h2").text
'Fluffy'
document.find_all("h2")
[<h2>Fluffy</h2>, <h2>Monsieur Whiskeurs</h2>]
Warning
Heads up! The code below will cause an error.
Let’s try to extract the text from all the header2 elements:
document.find_all("h2").text
Show code cell output
---------------------------------------------------------------------------
AttributeError Traceback (most recent call last)
<ipython-input-70-ff0f5284afa0> in <module>()
----> 1 document.find_all("h2").text
/Users/melaniewalsh/anaconda3/lib/python3.7/site-packages/bs4/element.py in __getattr__(self, key)
1599 def __getattr__(self, key):
1600 raise AttributeError(
-> 1601 "ResultSet object has no attribute '%s'. You're probably treating a list of items like a single item. Did you call find_all() when you meant to call find()?" % key
1602 )
AttributeError: ResultSet object has no attribute 'text'. You're probably treating a list of items like a single item. Did you call find_all() when you meant to call find()?
Uh oh. That didn’t work! In order to extract text data from multiple HTML elements, we need a for loop and some list-building.
all_h2_headers = document.find_all("h2")
all_h2_headers
[<h2>Fluffy</h2>, <h2>Monsieur Whiskeurs</h2>]
First we will make an empty list called h2_headers.
Then for each header in all_h2_headers, we will grab the .text, put it into a variable called header_contents, then .append() it to our h2_headers list.
h2_headers = []
for header in all_h2_headers:
header_contents = header.text
h2_headers.append(header_contents)
h2_headers
['Fluffy', 'Monsieur Whiskeurs']
Python Review: List Comprehensions
How might we transform this for loop into a list comprehension?
#For Loop
h2_headers = []
for header in all_h2_headers:
header_contents = header.text
h2_headers.append(header_contents)
Check out the list comprehension answer here
Show code cell content
h2_headers = [header.text for header in all_h2_headers]
h2_headers
['Fluffy', 'Monsieur Whiskeurs']
Inspect HTML Elements with Browser#
Most times if you’re looking to extract something from an HTML document, it’s best to use your “Inspect” capabilities in your web browser. You can hover over elements that you’re interested in and find that specific element in the HTML.
For example, if we hover over the main header:
Your Turn!#
Ok so now we’ve learned a little bit about how to use BeautifulSoup to parse HTML documents. So how would we apply what we’ve learned to extract Missy Elliott lyrics?
response = requests.get("https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics")
html_str = response.text
document = BeautifulSoup(html_str, "html.parser")
document
<!DOCTYPE html>
<html class="snarly apple_music_player--enabled bagon_song_page--enabled song_stories_public_launch--enabled react_forums--disabled" lang="en" xml:lang="en" xmlns="http://www.w3.org/1999/xhtml" xmlns:fb="http://www.facebook.com/2008/fbml">
<head>
<base href="//genius.com/" target="_top"/>
<script type="text/javascript">
//<![CDATA[
var _sf_startpt=(new Date()).getTime();
if (window.performance && performance.mark) {
window.performance.mark('parse_start');
}
//]]>
</script>
<title>Missy Elliott – The Rain (Supa Dupa Fly) Lyrics | Genius Lyrics</title>
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<meta content="The Rain (Supa Dupa Fly) Lyrics: Run the track / Me I'm super fly, super dupa fly / (I can't stand the rain) Supa dupa fly / Me I'm super fly, (against my window) super dupa fly / (I can't stand the rain) supa" name="description"/>
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<meta content="{"chartbeat":{"authors":"Missy Elliott","sections":"songs,tag:rap","title":"Missy Elliott – The Rain (Supa Dupa Fly) Lyrics | Genius Lyrics"},"controller_and_action":"songs#show","dmp_data_layer":{"page":{"type":"song","artists":["Missy Elliott"],"artist_ids":["[1529]"],"albums":["Supa Dupa Fly ","Respect M.E."],"album_ids":["[20205]","[335070]"],"genres":["Alternative","Experimental","Rap Genius"],"genre_ids":["[2757]","[2381]","[1434]"],"in_top_10":false,"artist_in_top_10":false,"album_in_top_10":false,"new_release":false,"release_month":"199705","release_year":1997,"release_decade":1990}},"header_bid_placements":[["desktop_song_leaderboard","desktop_song_leaderboard"],["desktop_song_sidebar_top","desktop_song_sidebar_top"],["desktop_song_medium1","desktop_song_medium1"]],"initial_ad_units":["desktop_song_inread","desktop_song_inread2","desktop_song_inread3","desktop_song_leaderboard","desktop_song_lyrics_footer","desktop_song_marquee","desktop_song_medium1","desktop_song_sidebar_top"],"page_type":"song","path":"/Missy-elliott-the-rain-supa-dupa-fly-lyrics","probably_spam":false,"title":"Missy Elliott – The Rain (Supa Dupa Fly) Lyrics | Genius Lyrics","tracking_data":[{"key":"Song ID","value":128},{"key":"Title","value":"The Rain (Supa Dupa Fly)"},{"key":"Primary Artist","value":"Missy Elliott"},{"key":"Primary Artist ID","value":1529},{"key":"Primary Album","value":"Supa Dupa Fly "},{"key":"Primary Album ID","value":20205},{"key":"Tag","value":"rap"},{"key":"Primary Tag","value":"rap"},{"key":"Primary Tag ID","value":1434},{"key":"Music?","value":true},{"key":"Annotatable Type","value":"Song"},{"key":"Annotatable ID","value":128},{"key":"featured_video","value":true},{"key":"cohort_ids","value":[]},{"key":"has_verified_callout","value":false},{"key":"has_featured_annotation","value":true},{"key":"created_at","value":"2009-10-13T04:46:30Z"},{"key":"created_month","value":"2009-10-01"},{"key":"created_year","value":2009},{"key":"song_tier","value":"E"},{"key":"Has Recirculated Articles","value":true},{"key":"Lyrics Language","value":"en"},{"key":"Has Song Story","value":false},{"key":"Song Story ID","value":null},{"key":"Has Apple Match","value":true},{"key":"Release Date","value":"1997-05-20"},{"key":"NRM Tier","value":null},{"key":"NRM Target Date","value":null},{"key":"Has Description","value":true},{"key":"Has Youtube URL","value":true},{"key":"Has Translation Q&A","value":false},{"key":"Comment Count","value":5}],"answered_pending_question_count":0,"dfp_kv":[{"name":"song_id","values":["128"]},{"name":"song_title","values":["The Rain Supa Dupa Fly"]},{"name":"artist_id","values":["1529"]},{"name":"artist_name","values":["Missy Elliott"]},{"name":"is_explicit","values":["false"]},{"name":"pageviews","values":["90550"]},{"name":"primary_tag_id","values":["1434"]},{"name":"primary_tag","values":["rap"]},{"name":"tag_id","values":["2757","2381","1434"]},{"name":"song_tier","values":["E"]},{"name":"topic","values":[]},{"name":"has_song_story","values":["false"]},{"name":"in_top_10","values":["false"]},{"name":"artist_in_top_10","values":["false"]},{"name":"album_in_top_10","values":["false"]},{"name":"new_release","values":["false"]},{"name":"release_month","values":["199705"]},{"name":"release_year","values":["1997"]},{"name":"release_decade","values":["1990"]},{"name":"in_top_10_rap","values":["false"]},{"name":"in_top_10_rock","values":["false"]},{"name":"in_top_10_country","values":["false"]},{"name":"in_top_10_r_and_b","values":["false"]},{"name":"in_top_10_pop","values":["false"]},{"name":"template","values":["song"]},{"name":"environment","values":["production"]},{"name":"platform","values":["web"]},{"name":"ad_page_type","values":["song"]}],"pending_question_count":0,"show_edit_form":false,"show_featured_question":false,"spotify_referral":false,"annotation_previews":[],"default_questions":[],"featured_question":null,"lyrics_data":{"client_timestamps":{"lyrics_updated_at":1577466781,"updated_by_human_at":1581969563},"body":{"html":"<p>[Intro: Missy Elliott &amp; <i>Timbaland</i>]<br>\n[*Yawning*]<br>\n<i>Run the track</i><br>\n<br>\n[Chorus: Missy Elliott &amp; <i>Ann Peebles</i>]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-3216794\" data-id=\"3216794\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"3216794\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Me I'm super fly, super dupa fly</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(I can't stand the rain)</i></a> <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-3216794\" data-id=\"3216794\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"3216794\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Supa dupa fly</a><br>\nMe I'm super fly, <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(against my window)</i></a> super dupa fly<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(I can't stand the rain)</i></a> supa dupa fly<br>\nMe I'm super fly, <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(against my window)</i></a> super dupa fly<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(I can't stand the rain)</i></a> supa dupa fly<br>\nMe I'm super fly, <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(against my window)</i></a><br>\n<br>\n[Verse 1: Missy Elliott]<br>\nWhen the rain hits my window<br>\nI take and *cough* me some indo<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4462\" data-id=\"4462\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4462\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Me and Timbaland, ooh, we sang a jangle<br>\nWe so tight that you get our styles tangled</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-5273\" data-id=\"5273\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"5273\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Sway on dosie-do like you loco</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4465\" data-id=\"4465\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4465\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Can we get kinky tonight?<br>\nLike Coko, so-so</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-2805172\" data-id=\"2805172\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"2805172\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">You don't wanna play with my Yo-Yo</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4461\" data-id=\"4461\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4461\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">I smoke my hydro on the D-low (D-D-D-D-D-low)</a><br>\n<br>\n[Hook: <i>Ann Peebles</i>]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>I can't stand the rain against my window</i><br>\n<i>I can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain against my window</i></a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">I can't stand the rain</a><br>\n<br>\n[Verse 2: Missy Elliott]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4460\" data-id=\"4460\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4460\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"1\">Beep, beep, who got the keys to the Jeep, vroom</a><br>\nI'm driving to the beach<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4472\" data-id=\"4472\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4472\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Top down, loud sounds,</a> see my peeps<br>\nGive them pounds, now look who it be<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4459\" data-id=\"4459\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4459\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">It be me, me, me and Timothy</a><br>\nLook like it's 'bout to rain, what a shame<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-5272\" data-id=\"5272\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"5272\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">I got the Armor-All to shine up the stain</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4473\" data-id=\"4473\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4473\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Oh, Missy, try to maintain</a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4471\" data-id=\"4471\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4471\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Icky-icky-icky-icky-icky-icky-icky</a><br>\n<br>\n[Hook: <i>Ann Peebles</i>]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>I can't stand the rain against my window</i><br>\n<i>I can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain against my window</i></a><br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">I can't stand the rain</a><br>\n<br>\n[Verse 3: Missy Elliott &amp; <i>Ann Peebles</i>]<br>\nI feel the wind<br>\n5, 6, 7, 8, 9, 10<br>\n9, 10<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4457\" data-id=\"4457\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4457\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">Begin, I sit on Hills like Lauryn</a><br>\nUntil the rain starts coming down, pouring<br>\nChill, I got my umbrella<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4476\" data-id=\"4476\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4476\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\">My finger waves these days, they fall like Humpty</a><br>\nChumpy, I break up with him before he dump me<br>\nTo have me, <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(I can't stand the rain)</i>,</a> yes, you lucky <a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>(against my window)</i></a><br>\n<br>\n[Outro: <i>Ann Peebles</i>]<br>\n<a href=\"/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469\" data-id=\"4469\" class=\"referent\" ng-click=\"open()\" ng-class=\"{\n 'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),\n 'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),\n 'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)\n }\" prevent-default-click=\"\" annotation-fragment=\"4469\" on-hover-with-no-digest=\"set_current_hover_and_digest(hover ? fragment_id : undefined)\" classification=\"accepted\" image=\"false\" pending-editorial-actions-count=\"0\"><i>I can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI I can't stand the rain against my window<br>\nI can't stand the rain against my window<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain<br>\nI can't stand the rain</i></a></p>\n\n"}},"next_track":{"number":5,"song":{"_type":"song","annotation_count":3,"api_path":"/songs/33231","full_title":"Beep Me 911 by Missy Elliott (Ft. 702 & Magoo)","header_image_thumbnail_url":"https://images.genius.com/e83677dff579a29f747287fb5f4424d8.300x257x1.jpg","header_image_url":"https://images.genius.com/e83677dff579a29f747287fb5f4424d8.599x513x1.jpg","id":33231,"instrumental":false,"lyrics_owner_id":50,"lyrics_state":"complete","lyrics_updated_at":1584063307,"path":"/Missy-elliott-beep-me-911-lyrics","pyongs_count":1,"song_art_image_thumbnail_url":"https://images.genius.com/e83677dff579a29f747287fb5f4424d8.300x257x1.jpg","song_art_image_url":"https://images.genius.com/e83677dff579a29f747287fb5f4424d8.599x513x1.jpg","stats":{"unreviewed_annotations":0,"hot":false,"pageviews":8634},"title":"Beep Me 911","title_with_featured":"Beep Me 911 (Ft. 702 & Magoo)","updated_by_human_at":1584063307,"url":"https://genius.com/Missy-elliott-beep-me-911-lyrics","primary_artist":{"_type":"artist","api_path":"/artists/1529","header_image_url":"https://images.genius.com/d91c82fa4ae2f1016fadc1c24fbbc59e.1000x333x1.jpg","id":1529,"image_url":"https://images.genius.com/085828b7d79bf8cf068b1557ca7a5e4c.1000x1000x1.jpg","index_character":"m","is_meme_verified":false,"is_verified":false,"name":"Missy Elliott","slug":"Missy-elliott","url":"https://genius.com/artists/Missy-elliott"}}},"pinned_questions":[{"_type":"question","body":"How did this song chart?","contributors_count":1,"created_at":1503928969,"default_key":null,"has_voters":false,"id":106256,"pin_order":65536.0,"state":"pinned","url":"https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics/questions/106256","votes_total":0,"current_user_metadata":{"permissions":[],"excluded_permissions":["vote","add_answer","update_answer_source","edit","archive","pin","unpin","move","add_verified_answer"],"iq_by_action":{},"interactions":{"vote":null}},"answer":{"_type":"answer","body":{"html":"<p>This song peaked at <strong>#4</strong> on <em>Billboard’s</em> Hot R&amp;B/Hip-Hop Songs.</p>","markdown":"This song peaked at **#4** on *Billboard's* Hot R&B/Hip-Hop Songs."},"created_at":1503928996,"editorial_state":"normal","has_voters":true,"id":50217,"votes_total":1,"current_user_metadata":{"permissions":[],"excluded_permissions":["vote","edit","destroy"],"interactions":{"vote":null}},"answer_source":null,"authors":[{"_type":"user_attribution","attribution":1.0,"pinned_role":null,"user":{"_type":"user","about_me_summary":"TWO-TIME GENIUS OLYMPIC GOLD MEDALIST\n\nTHREE-TIME RED REMOVERS CHAMPION\n\nHead of Basketball Reporting\n\nBest Web Annotator of 2016 (never forget the GWA)\n\nPlease contact zacharymahabir16@gmail.com for broadcast/journalistic/non-site inquiries","api_path":"/users/53993","avatar":{"tiny":{"url":"https://images.genius.com/avatars/tiny/40a6af5b511a7cd2ec5a755a872fdbb5","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://images.genius.com/avatars/thumb/40a6af5b511a7cd2ec5a755a872fdbb5","bounding_box":{"width":32,"height":32}},"small":{"url":"https://images.genius.com/avatars/small/40a6af5b511a7cd2ec5a755a872fdbb5","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://images.genius.com/avatars/medium/40a6af5b511a7cd2ec5a755a872fdbb5","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://images.genius.com/572af9af9aa1c6aff4ad0512c961d911.850x365x1.png","human_readable_role_for_display":"Editor","id":53993,"iq":358629,"is_meme_verified":false,"is_verified":false,"login":"ZacharyMahabir","name":"Zachary Mahabir (BLM)","role_for_display":"editor","url":"https://genius.com/ZacharyMahabir","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}}}]},"author":{"_type":"user","about_me_summary":"TWO-TIME GENIUS OLYMPIC GOLD MEDALIST\n\nTHREE-TIME RED REMOVERS CHAMPION\n\nHead of Basketball Reporting\n\nBest Web Annotator of 2016 (never forget the GWA)\n\nPlease contact zacharymahabir16@gmail.com for broadcast/journalistic/non-site inquiries","api_path":"/users/53993","avatar":{"tiny":{"url":"https://images.genius.com/avatars/tiny/40a6af5b511a7cd2ec5a755a872fdbb5","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://images.genius.com/avatars/thumb/40a6af5b511a7cd2ec5a755a872fdbb5","bounding_box":{"width":32,"height":32}},"small":{"url":"https://images.genius.com/avatars/small/40a6af5b511a7cd2ec5a755a872fdbb5","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://images.genius.com/avatars/medium/40a6af5b511a7cd2ec5a755a872fdbb5","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://images.genius.com/572af9af9aa1c6aff4ad0512c961d911.850x365x1.png","human_readable_role_for_display":"Editor","id":53993,"iq":358629,"is_meme_verified":false,"is_verified":false,"login":"ZacharyMahabir","name":"Zachary Mahabir (BLM)","role_for_display":"editor","url":"https://genius.com/ZacharyMahabir","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}}}],"preloaded_referents":[{"_type":"referent","annotator_id":12,"annotator_login":"MoMilli","api_path":"/referents/4460","classification":"accepted","fragment":"Beep, beep, who got the keys to the Jeep, vroom","id":4460,"ios_app_url":"genius://referents/4460","is_description":false,"is_image":false,"path":"/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom","range":{"content":"Beep, beep, who got the keys to the Jeep, vroom"},"song_id":128,"url":"https://genius.com/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom","verified_annotator_ids":[],"current_user_metadata":{"permissions":[],"excluded_permissions":["add_pinned_annotation_to","add_community_annotation_to"],"relationships":{}},"tracking_paths":{"aggregate":"/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom","concurrent":"/Missy-elliott-the-rain-supa-dupa-fly-lyrics"},"twitter_share_message":"“The question was presumably answered by the Jamaican duo Tanto Metro and Devonte that same year …” —@Genius","annotatable":{"_type":"song","api_path":"/songs/128","client_timestamps":{"updated_by_human_at":1581969563,"lyrics_updated_at":1577466781},"context":"Missy Elliott","id":128,"image_url":"https://images.genius.com/a1543159342cd360256c12b42185771f.975x1000x1.jpg","link_title":"The Rain (Supa Dupa Fly) by Missy Elliott","title":"The Rain (Supa Dupa Fly)","type":"Song","url":"https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics"},"annotations":[{"_type":"annotation","api_path":"/annotations/4460","being_created":false,"body":{"html":"<p>The question was presumably answered by the Jamaican duo <a href=\"https://genius.com/artists/Tanto-metro\" rel=\"noopener\">Tanto Metro</a> and <a href=\"https://genius.com/artists/Devonte\" rel=\"noopener\" data-api_path=\"/artists/1820591\">Devonte</a> that same year in 1997 in their song, <a href=\"https://genius.com/Tanto-metro-everyone-falls-in-love-lyrics\" rel=\"noopener\" data-api_path=\"/songs/33055\">“Everyone Falls in Love”</a>:</p>\n\n<blockquote><p>Beep, beep the singer got the keys to the Jeep (vroom)</p></blockquote>\n\n<p><img src=\"https://images.rapgenius.com/2fc40dbef71ef77401ec1c5221cb1a27.500x500x1.jpg\" alt=\"\" width=\"500\" height=\"500\" data-animated=\"false\"></p>\n\n<p>Beenie Man’s may also have referenced this line later in the year in his song <a href=\"https://genius.com/Beenie-man-who-am-i-sim-simma-lyrics\" rel=\"noopener\" data-api_path=\"/songs/33113\">“Who Am I”</a>:</p>\n\n<blockquote><p>Sim Simma, who got the keys to my Beemer?</p></blockquote>","plain":"The question was presumably answered by the Jamaican duo Tanto Metro and Devonte that same year in 1997 in their song, “Everyone Falls in Love”:\n\nBeep, beep the singer got the keys to the Jeep (vroom)\n\n\n\nBeenie Man’s may also have referenced this line later in the year in his song “Who Am I”:\n\nSim Simma, who got the keys to my Beemer?","markdown":"The question was presumably answered by the Jamaican duo [Tanto Metro](/artists/Tanto-metro) and [Devonte](/artists/Devonte) that same year in 1997 in their song, [\"Everyone Falls in Love\"](http://genius.com/Tanto-metro-everyone-falls-in-love-lyrics):\n\n>Beep, beep the singer got the keys to the Jeep (vroom)\n\nhttp://images.rapgenius.com/2fc40dbef71ef77401ec1c5221cb1a27.500x500x1.jpg\n\nBeenie Man's may also have referenced this line later in the year in his song [\"Who Am I\"](/Beenie-man-who-am-i-sim-simma-lyrics):\n\n>Sim Simma, who got the keys to my Beemer?"},"comment_count":1,"community":true,"created_at":1255409380,"custom_preview":null,"deleted":false,"embed_content":"<blockquote class='rg_standalone_container' data-src='//genius.com/annotations/4460/standalone_embed'><a href='https://genius.com/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom'>Beep, beep, who got the keys to the Jeep, vroom</a><br><a href='https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics'>&#8213; Missy Elliott – The Rain (Supa Dupa Fly)</a></blockquote><script async crossorigin src='//genius.com/annotations/load_standalone_embeds.js'></script>","has_voters":true,"id":4460,"needs_exegesis":false,"pinned":false,"proposed_edit_count":0,"pyongs_count":null,"referent_id":4460,"share_url":"https://genius.com/4460","source":null,"state":"accepted","twitter_share_message":"“The question was presumably answered by the Jamaican duo Tanto Metro and Devonte that same year in 1997 …” —@Genius","url":"https://genius.com/4460/Missy-elliott-the-rain-supa-dupa-fly/Beep-beep-who-got-the-keys-to-the-jeep-vroom","verified":false,"votes_total":16,"current_user_metadata":{"permissions":["create_comment"],"excluded_permissions":["vote","edit","cosign","uncosign","destroy","accept","reject","see_unreviewed","clear_votes","propose_edit_to","pin_to_profile","unpin_from_profile","update_source","edit_custom_preview"],"interactions":{"cosign":false,"pyong":false,"vote":null},"iq_by_action":{}},"accepted_by":{"_type":"user","about_me_summary":"Interests: Art, Love, Beauty….\n\nHomeland: Iran (via San Fernando Valley)\n\nFavorite rapper: Gucci Mane\n\nFavorite whip: Audi (I’m a simple man….)\n\nFavorite rap line: http://rapgenius.com/18330\n\nPS check out my flows: http://rapgenius.com/artists/Maboo","api_path":"/users/7","avatar":{"tiny":{"url":"https://s3.amazonaws.com/rapgenius/avatars/tiny/FPUgkjhRQyqsg9SfDfhx.jpg","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://s3.amazonaws.com/rapgenius/avatars/thumb/FPUgkjhRQyqsg9SfDfhx.jpg","bounding_box":{"width":32,"height":32}},"small":{"url":"https://s3.amazonaws.com/rapgenius/avatars/small/FPUgkjhRQyqsg9SfDfhx.jpg","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://s3.amazonaws.com/rapgenius/avatars/medium/FPUgkjhRQyqsg9SfDfhx.jpg","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://s3.amazonaws.com/rapgenius/avatars/medium/FPUgkjhRQyqsg9SfDfhx.jpg","human_readable_role_for_display":"Contributor","id":7,"iq":488871,"is_meme_verified":false,"is_verified":false,"login":"Maboo","name":"Maboo","role_for_display":"contributor","url":"https://genius.com/Maboo","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}},"authors":[{"_type":"user_attribution","attribution":1.0,"pinned_role":null,"user":{"_type":"user","about_me_summary":"Doctor, writer, “disease detective.” Genius editor/consultant 2009-?.\n\nCore values:\nhttps://jamanetwork.com/journals/jama/fullarticle/2753865","api_path":"/users/12","avatar":{"tiny":{"url":"https://s3.amazonaws.com/rapgenius/avatars/tiny/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://s3.amazonaws.com/rapgenius/avatars/thumb/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":32,"height":32}},"small":{"url":"https://s3.amazonaws.com/rapgenius/avatars/small/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://s3.amazonaws.com/rapgenius/avatars/medium/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://s3.amazonaws.com/rapgenius/avatars/medium/QZnzZ0BURDmkNKcnseyF.jpg","human_readable_role_for_display":"Editor","id":12,"iq":82500,"is_meme_verified":false,"is_verified":false,"login":"MoMilli","name":"MoMilli","role_for_display":"editor","url":"https://genius.com/MoMilli","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}}}],"cosigned_by":[],"created_by":{"_type":"user","about_me_summary":"Doctor, writer, “disease detective.” Genius editor/consultant 2009-?.\n\nCore values:\nhttps://jamanetwork.com/journals/jama/fullarticle/2753865","api_path":"/users/12","avatar":{"tiny":{"url":"https://s3.amazonaws.com/rapgenius/avatars/tiny/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://s3.amazonaws.com/rapgenius/avatars/thumb/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":32,"height":32}},"small":{"url":"https://s3.amazonaws.com/rapgenius/avatars/small/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://s3.amazonaws.com/rapgenius/avatars/medium/QZnzZ0BURDmkNKcnseyF.jpg","bounding_box":{"width":300,"height":400}}},"header_image_url":"https://s3.amazonaws.com/rapgenius/avatars/medium/QZnzZ0BURDmkNKcnseyF.jpg","human_readable_role_for_display":"Editor","id":12,"iq":82500,"is_meme_verified":false,"is_verified":false,"login":"MoMilli","name":"MoMilli","role_for_display":"editor","url":"https://genius.com/MoMilli","current_user_metadata":{"permissions":[],"excluded_permissions":["follow"],"interactions":{"following":false}}},"rejection_comment":null,"top_comment":{"_type":"comment","api_path":"/comments/6380868","body":{"html":"<p>Tum Tum’s song “Caprice Music” has this line “Beep beep who got the keys to caprice (neerooom)”</p>","plain":"Tum Tum’s song “Caprice Music” has this line “Beep beep who got the keys to caprice (neerooom)”","markdown":"Tum Tum's song \"Caprice Music\" has this line \"Beep beep who got the keys to caprice (neerooom)\""},"created_at":1540492762,"has_voters":true,"id":6380868,"pinned_role":null,"votes_total":2,"current_user_metadata":{"permissions":[],"excluded_permissions":["vote","accept","reject","mark_spam","integrate","archive","destroy"],"interactions":{"vote":null}},"anonymous_author":{"_type":"anonymous_user","avatar":{"tiny":{"url":"https://assets.genius.com/images/default_avatar_16.png?1597864036","bounding_box":{"width":16,"height":16}},"thumb":{"url":"https://assets.genius.com/images/default_avatar_32.png?1597864036","bounding_box":{"width":32,"height":32}},"small":{"url":"https://assets.genius.com/images/default_avatar_100.png?1597864036","bounding_box":{"width":100,"height":100}},"medium":{"url":"https://assets.genius.com/images/default_avatar_300.png?1597864036","bounding_box":{"width":300,"height":400}}},"login":"tollar","name":"Tollar"},"author":null,"reason":null},"verified_by":null}]}],"primary_album_tracks":[{"_type":"album_appearance","number":1,"current_user_metadata":{"permissions":["view_song"],"excluded_permissions":[]},"song":{"_type":"song","api_path":"/songs/33239","id":33239,"lyrics_state":"complete","path":"/Missy-elliott-bustas-intro-lyrics","title":"Busta’s 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<h1 class="header_with_cover_art-primary_info-title ">The Rain (Supa Dupa Fly)</h1>
<h2>
<a class="header_with_cover_art-primary_info-primary_artist" href="https://genius.com/artists/Missy-elliott">Missy Elliott</a>
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<a href="https://genius.com/artists/Timbaland">Timbaland</a>
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<h3>
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<span class="metadata_unit-label">Album</span>
<span class="metadata_unit-info"><a href="https://genius.com/albums/Missy-elliott/Supa-dupa-fly">Supa Dupa Fly </a></span>
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<h2 class="text_label text_label--gray text_label--x_small_text_size u-top_margin">The Rain (Supa Dupa Fly) Lyrics</h2>
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<p>[Intro: Missy Elliott & <i>Timbaland</i>]<br/>
[*Yawning*]<br/>
<i>Run the track</i><br/>
<br/>
[Chorus: Missy Elliott & <i>Ann Peebles</i>]<br/>
<a annotation-fragment="3216794" class="referent" classification="accepted" data-id="3216794" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-3216794" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
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}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Me I'm super fly, super dupa fly</a><br/>
<a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
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}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>(I can't stand the rain)</i></a> <a annotation-fragment="3216794" class="referent" classification="accepted" data-id="3216794" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-3216794" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Supa dupa fly</a><br/>
Me I'm super fly, <a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>(against my window)</i></a> super dupa fly<br/>
<a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
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'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>(I can't stand the rain)</i></a> supa dupa fly<br/>
Me I'm super fly, <a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>(against my window)</i></a> super dupa fly<br/>
<a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
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}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>(I can't stand the rain)</i></a> supa dupa fly<br/>
Me I'm super fly, <a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>(against my window)</i></a><br/>
<br/>
[Verse 1: Missy Elliott]<br/>
When the rain hits my window<br/>
I take and *cough* me some indo<br/>
<a annotation-fragment="4462" class="referent" classification="accepted" data-id="4462" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4462" image="false" ng-class="{
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}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Me and Timbaland, ooh, we sang a jangle<br/>
We so tight that you get our styles tangled</a><br/>
<a annotation-fragment="5273" class="referent" classification="accepted" data-id="5273" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-5273" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
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'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Sway on dosie-do like you loco</a><br/>
<a annotation-fragment="4465" class="referent" classification="accepted" data-id="4465" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4465" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Can we get kinky tonight?<br/>
Like Coko, so-so</a><br/>
<a annotation-fragment="2805172" class="referent" classification="accepted" data-id="2805172" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-2805172" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">You don't wanna play with my Yo-Yo</a><br/>
<a annotation-fragment="4461" class="referent" classification="accepted" data-id="4461" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4461" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">I smoke my hydro on the D-low (D-D-D-D-D-low)</a><br/>
<br/>
[Hook: <i>Ann Peebles</i>]<br/>
<a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>I can't stand the rain against my window</i><br/>
<i>I can't stand the rain against my window<br/>
I can't stand the rain against my window<br/>
I can't stand the rain against my window</i></a><br/>
<a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">I can't stand the rain</a><br/>
<br/>
[Verse 2: Missy Elliott]<br/>
<a annotation-fragment="4460" class="referent" classification="accepted" data-id="4460" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4460" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="1" prevent-default-click="">Beep, beep, who got the keys to the Jeep, vroom</a><br/>
I'm driving to the beach<br/>
<a annotation-fragment="4472" class="referent" classification="accepted" data-id="4472" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4472" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Top down, loud sounds,</a> see my peeps<br/>
Give them pounds, now look who it be<br/>
<a annotation-fragment="4459" class="referent" classification="accepted" data-id="4459" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4459" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">It be me, me, me and Timothy</a><br/>
Look like it's 'bout to rain, what a shame<br/>
<a annotation-fragment="5272" class="referent" classification="accepted" data-id="5272" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-5272" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">I got the Armor-All to shine up the stain</a><br/>
<a annotation-fragment="4473" class="referent" classification="accepted" data-id="4473" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4473" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Oh, Missy, try to maintain</a><br/>
<a annotation-fragment="4471" class="referent" classification="accepted" data-id="4471" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4471" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Icky-icky-icky-icky-icky-icky-icky</a><br/>
<br/>
[Hook: <i>Ann Peebles</i>]<br/>
<a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>I can't stand the rain against my window</i><br/>
<i>I can't stand the rain against my window<br/>
I can't stand the rain against my window<br/>
I can't stand the rain against my window</i></a><br/>
<a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">I can't stand the rain</a><br/>
<br/>
[Verse 3: Missy Elliott & <i>Ann Peebles</i>]<br/>
I feel the wind<br/>
5, 6, 7, 8, 9, 10<br/>
9, 10<br/>
<a annotation-fragment="4457" class="referent" classification="accepted" data-id="4457" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4457" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">Begin, I sit on Hills like Lauryn</a><br/>
Until the rain starts coming down, pouring<br/>
Chill, I got my umbrella<br/>
<a annotation-fragment="4476" class="referent" classification="accepted" data-id="4476" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4476" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click="">My finger waves these days, they fall like Humpty</a><br/>
Chumpy, I break up with him before he dump me<br/>
To have me, <a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>(I can't stand the rain)</i>,</a> yes, you lucky <a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>(against my window)</i></a><br/>
<br/>
[Outro: <i>Ann Peebles</i>]<br/>
<a annotation-fragment="4469" class="referent" classification="accepted" data-id="4469" href="/Missy-elliott-the-rain-supa-dupa-fly-lyrics#note-4469" image="false" ng-class="{
'referent--linked_to_preview': song_ctrl.referent_has_preview(fragment_id),
'referent--linked_to_preview_active': song_ctrl.highlight_preview_referent(fragment_element_id),
'referent--purple_indicator': song_ctrl.show_preview_referent_indicator(fragment_element_id)
}" ng-click="open()" on-hover-with-no-digest="set_current_hover_and_digest(hover ? fragment_id : undefined)" pending-editorial-actions-count="0" prevent-default-click=""><i>I can't stand the rain against my window<br/>
I can't stand the rain against my window<br/>
I can't stand the rain against my window<br/>
I can't stand the rain<br/>
I can't stand the rain<br/>
I can't stand the rain<br/>
I can't stand the rain<br/>
I can't stand the rain against my window<br/>
I can't stand the rain against my window<br/>
I I can't stand the rain against my window<br/>
I can't stand the rain against my window<br/>
I can't stand the rain<br/>
I can't stand the rain<br/>
I can't stand the rain<br/>
I can't stand the rain</i></a></p>
<!--/sse-->
</div>
</div>
<div initial-content-for="recirculated_content">
<div class="u-xx_large_vertical_margins">
<div class="text_label text_label--gray">More on Genius</div>
<a class="recirculated_content" href="https://genius.com/a/get-ur-freak-on-almost-didn-t-make-it-on-missy-elliott-s-miss-e-so-addictive">
<div class="recirculated_content-image"></div>
<div class="recirculated_content-info">
<div class="recirculated_content-title">“Get Ur Freak On” Almost Didn’t Make It On Missy Elliott’s ‘Miss E ...So Addictive’</div>
</div>
</a>
</div>
</div>
</div>
</div>
<div class="column_layout-column_span column_layout-column_span--secondary u-top_margin column_layout-flex_column">
<div class="column_layout-column_span-initial_content">
<div class="dfp_unit u-x_large_bottom_margin dfp_unit--in_read">
<div style="
width: 300px;
height: 250px;
"></div>
</div>
<div class="annotation_label">
<h3 class="u-inline">
About “The Rain (Supa Dupa Fly)”
</h3>
</div>
<div class="rich_text_formatting">
<p>“The Rain” is as impressionistic as any lyric in rap; it sets a numinous mood. Furthermore,</p>
<blockquote><p><a href="http://www.songfacts.com/detail.php?id=10542" rel="noopener nofollow">this was Missy Elliott’s <em>first single</em>, and it also spawned her first music video. Timbaland produced and co-wrote the song and appeared in the video (the beginning of Elliott’s longtime collaboration with director Hype Williams until he was replaced by Dave Meyers). Elliott played up her size in the video by wearing an enormous inflated trash bag – a “screw you” to all the execs who told her she was too fat to make it in the music business.</a></p></blockquote>
<p><img alt="" data-animated="true" height="375" src="https://images.rapgenius.com/ba8f4772afad0332121b801640df1f36.500x375x44.gif" width="500"/></p>
<p>The song samples <a data-api_path="/songs/521816" href="https://genius.com/Ann-peebles-i-cant-stand-the-rain-lyrics" rel="noopener">“I Can’t Stand The Rain”</a> by <a data-api_path="/artists/36895" href="https://genius.com/artists/Ann-peebles" rel="noopener">Ann Peebles</a>.</p>
</div>
<div class="song_metadata u-xx_large_bottom_margin"></div>
</div>
<div class="column_layout-column_span-initial_content">
<div initial-content-for="question_list">
<ul>
<li class="question question--bottom_border ">
<div class="u-bottom_margin">
<h3 class="annotation_label">How did this song chart?</h3>
</div>
<div class="rich_text_formatting rich_text_formatting--no_vertical_margins">
<p>This song peaked at <strong>#4</strong> on <em>Billboard’s</em> Hot R&B/Hip-Hop Songs.</p>
</div>
</li>
</ul>
</div>
<div initial-content-for="track_info">
<div class="u-xx_large_vertical_margins show_tiny_edit_button_on_hover">
<h3 class="text_label u-x_small_bottom_margin">"The Rain (Supa Dupa Fly)" Track Info</h3>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Written By</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Bernard-miller">Bernard Miller</a>, <a href="https://genius.com/artists/Ann-peebles">Ann Peebles</a>, <a href="https://genius.com/artists/Don-bryant">Don Bryant</a> & <span class="metadata_unit-show_more">2 more</span>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Video Director</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Hype-williams">Hype Williams</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mixed At</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Manhattan-center-studios-new-york-ny">Manhattan Center Studios, New York, NY</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mastered at</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Powers-house-of-sound-nyc">Powers House Of Sound, NYC</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Engineer</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Jimmy-douglass">Jimmy Douglass</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Recorded At</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Mastersound-studios-virginia-beach-va">Mastersound Studios, Virginia Beach, VA</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mixing Engineer Assistant</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Richard-clark">Richard Clark</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Assistant Engineer</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Andrew-coleman">Andrew Coleman</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Additional Vocals</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Timbaland">Timbaland</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Lead Vocals</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Missy-elliott">Missy Elliott</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mastering Engineer</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Herb-powers">Herb Powers</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Mixing Engineer</span>
<span class="metadata_unit-info">
<a href="https://genius.com/artists/Jimmy-douglass">Jimmy Douglass</a> & <a href="https://genius.com/artists/Timbaland">Timbaland</a>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Recorded At</span>
<span class="metadata_unit-info metadata_unit-info--text_only">Master Sound Studios, Virginia Beach</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Release Date</span>
<span class="metadata_unit-info metadata_unit-info--text_only">May 20, 1997</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Samples</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Ann-peebles-i-cant-stand-the-rain-lyrics">I Can't Stand the Rain by Ann Peebles</a>
</div>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Sampled In</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Timbaland-and-magoo-beep-beep-lyrics">Beep Beep by Timbaland & Magoo (Ft. Missy Elliott)</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Timbaland-and-magoo-feel-it-lyrics">Feel It by Timbaland & Magoo</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Method-man-and-redman-the-lyrics">The ? by Method Man & Redman</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Wiz-khalifa-the-rain-lyrics">The Rain by Wiz Khalifa</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Mick-jenkins-rain-lyrics">Rain by Mick Jenkins</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/G-yamazawa-supa-dupa-fly-lyrics">Supa Dupa Fly by G YAMAZAWA</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Heath-mcnease-zulu-nation-lyrics">Zulu Nation by Heath McNease</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Phresh-kyd-supa-dupa-steez-lyrics">Supa Dupa Steez by Phresh Kyd</a>
</div>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Interpolates</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Tanto-metro-and-devonte-everyone-falls-in-love-lyrics">Everyone Falls in Love by Tanto Metro & Devonte</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Yo-yo-you-cant-play-with-my-yo-yo-lyrics">You Can't Play With My Yo-Yo by Yo-Yo (Ft. Ice Cube)</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Swv-can-we-lyrics">Can We by SWV (Ft. Missy Elliott)</a>
</div>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Interpolated By</span>
<span class="metadata_unit-info">
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Beenie-man-who-am-i-sim-simma-lyrics">Who Am I? (Sim Simma) by Beenie Man</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Blancoblk-energy-lyrics">Energy by blancoBLK</a>
</div>
<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Jahmed-jeep-lyrics">JEEP by JAHMED</a>
</div>
</span>
</div>
<div class="metadata_unit metadata_unit--table_row">
<span class="metadata_unit-label">Remixed By</span>
<span class="metadata_unit-info">
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<a href="https://genius.com/Slwjmz-sj-supermix-lyrics">SuperMIX by SLWJMZ (SJ)</a>
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<div class="u-x_small_bottom_margin">
<a href="https://genius.com/Kaan-rain-supafly-remix-lyrics">Rain (Supafly Remix) by K.A.A.N. (Ft. Norman Dean)</a>
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<a href="https://genius.com/Gemini-the-twiins-supa-gemini-lyrics">Supa Gemini by Gemini The Twiins</a>
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Supa Dupa Fly
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<a class="song_album-info-artist" href="https://genius.com/artists/Missy-elliott" title="Supa Dupa Fly ">Missy Elliott</a>
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<span class="track_listing-track_number">1. </span>
<a href="https://genius.com/Missy-elliott-bustas-intro-lyrics" title="Busta’s Intro">
Busta’s Intro
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">2. </span>
<a href="https://genius.com/Missy-elliott-hit-em-wit-da-hee-lyrics" title="Hit ‘Em Wit’ Da Hee">
Hit ‘Em Wit’ Da Hee
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">3. </span>
<a href="https://genius.com/Missy-elliott-sock-it-2-me-lyrics" title="Sock It 2 Me">
Sock It 2 Me
</a>
</div>
</div>
<div>
<div class="track_listing-track track_listing-track--current">
<span class="track_listing-track_number">4. </span>
<span>
The Rain (Supa Dupa Fly)
</span>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">5. </span>
<a href="https://genius.com/Missy-elliott-beep-me-911-lyrics" title="Beep Me 911">
Beep Me 911
</a>
</div>
</div>
<div>
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<span class="track_listing-track_number">6. </span>
<a href="https://genius.com/Missy-elliott-they-dont-wanna-fuck-wit-me-lyrics" title="They Don’t Wanna Fuck Wit Me">
They Don’t Wanna Fuck Wit Me
</a>
</div>
</div>
<div>
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<span class="track_listing-track_number">7. </span>
<a href="https://genius.com/Missy-elliott-pass-da-blunt-lyrics" title="Pass Da Blunt">
Pass Da Blunt
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">8. </span>
<a href="https://genius.com/Missy-elliott-bite-our-style-interlude-lyrics" title="Bite Our Style (Interlude)">
Bite Our Style (Interlude)
</a>
</div>
</div>
<div>
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<span class="track_listing-track_number">9. </span>
<a href="https://genius.com/Missy-elliott-friendly-skies-lyrics" title="Friendly Skies">
Friendly Skies
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">10. </span>
<a href="https://genius.com/Missy-elliott-best-friends-lyrics" title="Best Friends">
Best Friends
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">11. </span>
<a href="https://genius.com/Missy-elliott-dont-be-commin-in-my-face-lyrics" title="Don’t Be Commin’ (In My Face)">
Don’t Be Commin’ (In My Face)
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">12. </span>
<a href="https://genius.com/Missy-elliott-izzy-izzy-ahh-lyrics" title="Izzy Izzy Ahh">
Izzy Izzy Ahh
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">13. </span>
<a href="https://genius.com/Missy-elliott-why-you-hurt-me-lyrics" title="Why You Hurt Me">
Why You Hurt Me
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">14. </span>
<a href="https://genius.com/Missy-elliott-im-talkin-lyrics" title="I’m Talkin">
I’m Talkin
</a>
</div>
</div>
<div>
<div class="track_listing-track ">
<span class="track_listing-track_number">15. </span>
<a href="https://genius.com/Missy-elliott-gettaway-lyrics" title="Gettaway">
Gettaway
</a>
</div>
</div>
<div>
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<span class="track_listing-track_number">16. </span>
<a href="https://genius.com/Missy-elliott-bustas-outro-lyrics" title="Busta’s Outro">
Busta’s Outro
</a>
</div>
</div>
<div>
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<span class="track_listing-track_number">17. </span>
<a href="https://genius.com/Missy-elliott-missys-finale-lyrics" title="Missy’s Finale">
Missy’s Finale
</a>
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https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics
What HTML element do we need to “find” to extract the song lyrics?
Check answer here
Show code cell content
missy_lyrics = document.find("p").text
print(missy_lyrics)
[Intro: Missy Elliott & Timbaland]
[*Yawning*]
Run the track
[Chorus: Missy Elliott & Ann Peebles]
Me I'm super fly, super dupa fly
(I can't stand the rain) Supa dupa fly
Me I'm super fly, (against my window) super dupa fly
(I can't stand the rain) supa dupa fly
Me I'm super fly, (against my window) super dupa fly
(I can't stand the rain) supa dupa fly
Me I'm super fly, (against my window)
[Verse 1: Missy Elliott]
When the rain hits my window
I take and *cough* me some indo
Me and Timbaland, ooh, we sang a jangle
We so tight that you get our styles tangled
Sway on dosie-do like you loco
Can we get kinky tonight?
Like Coko, so-so
You don't wanna play with my Yo-Yo
I smoke my hydro on the D-low (D-D-D-D-D-low)
[Hook: Ann Peebles]
I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain
[Verse 2: Missy Elliott]
Beep, beep, who got the keys to the Jeep, vroom
I'm driving to the beach
Top down, loud sounds, see my peeps
Give them pounds, now look who it be
It be me, me, me and Timothy
Look like it's 'bout to rain, what a shame
I got the Armor-All to shine up the stain
Oh, Missy, try to maintain
Icky-icky-icky-icky-icky-icky-icky
[Hook: Ann Peebles]
I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain
[Verse 3: Missy Elliott & Ann Peebles]
I feel the wind
5, 6, 7, 8, 9, 10
9, 10
Begin, I sit on Hills like Lauryn
Until the rain starts coming down, pouring
Chill, I got my umbrella
My finger waves these days, they fall like Humpty
Chumpy, I break up with him before he dump me
To have me, (I can't stand the rain), yes, you lucky (against my window)
[Outro: Ann Peebles]
I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain
I can't stand the rain
I can't stand the rain
I can't stand the rain
I can't stand the rain against my window
I can't stand the rain against my window
I I can't stand the rain against my window
I can't stand the rain against my window
I can't stand the rain
I can't stand the rain
I can't stand the rain
I can't stand the rain
What HTML element do we need to “find” to extract the title?
Check answer here
Show code cell content
song_title = document.find('h1').text
print(song_title)
The Rain (Supa Dupa Fly)