{ "cells": [ { "cell_type": "markdown", "metadata": {}, "source": [ "# Web Scraping — Part 1" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "*Inspired by web scraping lessons from [Lauren Klein](https://github.com/laurenfklein/emory-qtm340/blob/master/notebooks/class4-web-scraping-complete.ipynb) and [Allison Parrish](https://github.com/aparrish/dmep-python-intro/blob/master/scraping-html.ipynb)*" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "In this series of lessons, we're going to introduce how to \"scrape\" data from the internet with the Python libraries requests and BeautifulSoup.\n", "\n", "We will cover how to:\n", "\n", "* Programmatically access the text of a web page\n", "* Understand the basics of HTML\n", "* Extract certain HTML elements" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "## Why Do We Need To Scrape At All?" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "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”](https://pudding.cool/2017/03/film-dialogue/).\n", "\n", "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](http://www.cs.cornell.edu/~cristian/Cornell_Movie-Dialogs_Corpus.html). This is a corpus created by Cornell CIS professors Cristian Danescu-Niculescu-Mizil and Lillian Lee for their paper [\"Chameleons in imagined conversations\"](http://www.cs.cornell.edu/~cristian/papers/chameleons.pdf). Go Big Red!\n", "\n", "These researchers helpfully shared a dataset of every URL that they used to find and access the screenplays in their own project." ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "**Import Pandas**" ] }, { "cell_type": "code", "execution_count": 15, "metadata": {}, "outputs": [], "source": [ "import pandas as pd" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "**Read in CSV file**" ] }, { "cell_type": "code", "execution_count": 16, "metadata": {}, "outputs": [], "source": [ "urls = pd.read_csv(\"../data/cornell-movie-corpus/raw_script_urls.csv\", delimiter='\\t', encoding='utf=8')" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "**Display DataFrame**" ] }, { "cell_type": "code", "execution_count": 17, "metadata": { "tags": [ "output_scroll" ] }, "outputs": [ { "data": { "text/html": [ "
\n", " | id | \n", "movie_title | \n", "script_url | \n", "
---|---|---|---|
0 | \n", "m0 | \n", "10 things i hate about you | \n", "http://www.dailyscript.com/scripts/10Things.html | \n", "
1 | \n", "m1 | \n", "1492: conquest of paradise | \n", "http://www.hundland.org/scripts/1492-Conquest... | \n", "
2 | \n", "m2 | \n", "15 minutes | \n", "http://www.dailyscript.com/scripts/15minutes.... | \n", "
3 | \n", "m3 | \n", "2001: a space odyssey | \n", "http://www.scifiscripts.com/scripts/2001.txt | \n", "
4 | \n", "m4 | \n", "48 hrs. | \n", "http://www.awesomefilm.com/script/48hours.txt | \n", "
... | \n", "... | \n", "... | \n", "... | \n", "
612 | \n", "m612 | \n", "watchmen | \n", "http://www.scifiscripts.com/scripts/wtchmn.txt | \n", "
613 | \n", "m613 | \n", "xxx | \n", "http://www.dailyscript.com/scripts/xXx.txt | \n", "
614 | \n", "m614 | \n", "x-men | \n", "http://www.scifiscripts.com/scripts/xmenthing... | \n", "
615 | \n", "m615 | \n", "young frankenstein | \n", "http://www.horrorlair.com/scripts/young.txt | \n", "
616 | \n", "m616 | \n", "zulu dawn | \n", "http://www.aellea.com/script/zuludawn.txt | \n", "
617 rows × 3 columns
\n", "\n", " | id | \n", "movie_title | \n", "script_url | \n", "
---|---|---|---|
0 | \n", "m0 | \n", "10 things i hate about you | \n", "http://www.dailyscript.com/scripts/10Things.html | \n", "
1 | \n", "m1 | \n", "1492: conquest of paradise | \n", "http://www.hundland.org/scripts/1492-Conquest... | \n", "
2 | \n", "m2 | \n", "15 minutes | \n", "http://www.dailyscript.com/scripts/15minutes.... | \n", "
3 | \n", "m3 | \n", "2001: a space odyssey | \n", "http://www.scifiscripts.com/scripts/2001.txt | \n", "
4 | \n", "m4 | \n", "48 hrs. | \n", "http://www.awesomefilm.com/script/48hours.txt | \n", "
5 | \n", "m5 | \n", "the fifth element | \n", "http://www.scifiscripts.com/scripts/5thelemen... | \n", "
6 | \n", "m6 | \n", "8mm | \n", "http://www.dailyscript.com/scripts/eight-mill... | \n", "
7 | \n", "m7 | \n", "a nightmare on elm street 4: the dream master | \n", "http://www.hundland.org/scripts/A-Nightmare-o... | \n", "
8 | \n", "m8 | \n", "a nightmare on elm street: the dream child | \n", "http://www.hundland.org/scripts/A-Nightmare-o... | \n", "
9 | \n", "m9 | \n", "the atomic submarine | \n", "http://leonscripts.tripod.com/scripts/ATOMICS... | \n", "
\n", " | id | \n", "movie_title | \n", "script_url | \n", "text | \n", "
---|---|---|---|---|
0 | \n", "m0 | \n", "10 things i hate about you | \n", "http://www.dailyscript.com/scripts/10Things.html | \n", "<html>\\r\\n<head>\\r\\n<title>10 Things I Hate Ab... | \n", "
1 | \n", "m1 | \n", "1492: conquest of paradise | \n", "http://www.hundland.org/scripts/1492-Conquest... | \n", "<h1>404: Not Found</h1>\\n | \n", "
2 | \n", "m2 | \n", "15 minutes | \n", "http://www.dailyscript.com/scripts/15minutes.... | \n", "<html>\\r\\n<head>\\r\\n<title>15 Minutes script b... | \n", "
3 | \n", "m3 | \n", "2001: a space odyssey | \n", "http://www.scifiscripts.com/scripts/2001.txt | \n", "Note from poster to Kubrick newsgroup:\\r\\n\\r\\n... | \n", "
4 | \n", "m4 | \n", "48 hrs. | \n", "http://www.awesomefilm.com/script/48hours.txt | \n", "\\n\\t\\t\\t\\t\\t\"48 HRS.\"\\n\\n\\t\\t\\t\\t\\t by\\n\\n\\t... | \n", "
5 | \n", "m5 | \n", "the fifth element | \n", "http://www.scifiscripts.com/scripts/5thelemen... | \n", "\\t\\t\\t\\tThe Fifth Element\\r\\n\\r\\n\\t\\t\\t\\tAn or... | \n", "
6 | \n", "m6 | \n", "8mm | \n", "http://www.dailyscript.com/scripts/eight-mill... | \n", "<html>\\n\\n<head>\\n <title>\"8MM\", by Andrew K... | \n", "
7 | \n", "m7 | \n", "a nightmare on elm street 4: the dream master | \n", "http://www.hundland.org/scripts/A-Nightmare-o... | \n", "<h1>404: Not Found</h1>\\n | \n", "
8 | \n", "m8 | \n", "a nightmare on elm street: the dream child | \n", "http://www.hundland.org/scripts/A-Nightmare-o... | \n", "<h1>404: Not Found</h1>\\n | \n", "
9 | \n", "m9 | \n", "the atomic submarine | \n", "http://leonscripts.tripod.com/scripts/ATOMICS... | \n", "<html>\\r\\n\\r\\n<head>\\r\\n <title>ATOMIC SUBMA... | \n", "
\n", " TEN THINGS I HATE ABOUT YOU\n", " \n", " written by Karen McCullah Lutz & Kirsten Smith\n", " \n", " based on 'Taming of the Shrew\" by William Shakespeare\n", " \n", " Revision November 12, 1997\n", " \n", " \n", " PADUA HIGH SCHOOL - DAY\n", " \n", " Welcome to Padua High School,, your typical urban-suburban \n", " high school in Portland, Oregon. Smarties, Skids, Preppies, \n", " Granolas. Loners, Lovers, the In and the Out Crowd rub sleep \n", " out of their eyes and head for the main building.\n", " \n", " PADUA HIGH PARKING LOT - DAY\n", " \n", " KAT STRATFORD, eighteen, pretty -- but trying hard not to be \n", " -- in a baggy granny dress and glasses, balances a cup of \n", " coffee and a backpack as she climbs out of her battered, \n", " baby blue '75 Dodge Dart.\n", " \n", " A stray SKATEBOARD clips her, causing her to stumble and \n", " spill her coffee, as well as the contents of her backpack.\n", " \n", " The young RIDER dashes over to help, trembling when he sees \n", " who his board has hit.\n", " \n", " RIDER\n", " Hey -- sorry.\n", " \n", " Cowering in fear, he attempts to scoop up her scattered \n", " belongings.\n", " \n", " KAT\n", " Leave it \n", " \n", " He persists.\n", " \n", " KAT (continuing)\n", " I said, leave it!\n", " \n", " She grabs his skateboard and uses it to SHOVE him against a \n", " car, skateboard tip to his throat. He whimpers pitifully \n", " and she lets him go. A path clears for her as she marches \n", " through a pack of fearful students and SLAMS open the door, \n", " entering school.\n", " \n", " INT. GIRLS' ROOM - DAY\n", " \n", " BIANCA STRATFORD, a beautiful sophomore, stands facing the \n", " mirror, applying lipstick. Her less extraordinary, but \n", " still cute friend, CHASTITY stands next to her. \n", " \n", " BIANCA\n", " Did you change your hair?\n", " \n", " CHASTITY \n", " No.\n", " \n", " BIANCA\n", " You might wanna think about it\n", " \n", " Leave the girls' room and enter the hallway.\n", " \n", " HALLWAY - DAY- CONTINUOUS\n", " \n", " Bianca is immediately greeted by an admiring crowd, both \n", " boys\n", " and girls alike.\n", " \n", " BOY\n", " (adoring)\n", " Hey, Bianca.\n", " \n", " GIRL\n", " Awesome shoes.\n", " \n", " The greetings continue as Chastity remains wordless and \n", " unaddressed by her side. Bianca smiles proudly, \n", " acknowledging her fans.\n", " \n", " GUIDANCE COUNSELOR'S OFFICE - DAY\n", " \n", " CAMERON JAMES, a clean-cut, easy-going senior with an open, \n", " farm-boy face, sits facing Miss Perky, an impossibly cheery \n", " guidance counselor.\n", " \n", " MISS PERKY\n", " I'm sure you won't find Padua any \n", " different than your old school. Same \n", " little asswipe mother-fuckers \n", " everywhere.\n", " \n", " Her plastic smile never leaves her face. Cameron fidgets in \n", " his chair uncomfortably.\n", " \n", " MISS PERKY\n", " (continuing)\n", " Any questions?\n", " \n", " CAMERON\n", " I don't think so, ma'am\n", " \n", " MISS PERKY\n", " Then go forth. Scoot I've got \n", " deviants to see.\n", " \n", " Cameron rises to leave and makes eye contact with PATRICK \n", " VERONA, a sullen-looking bad ass senior who waits outside Ms \n", " Perky's door. His slouch and smirk let us know how cool he \n", " is.\n", " \n", " Miss Perky looks down at her file and up at Patrick\n", " \n", " MISS PERKY\n", " (continuing)\n", " Patrick Verona. I see we're making our \n", " visits a weekly ritual.\n", " \n", " She gives him a withering glance. He answers with a charming \n", " smile.\n", " \n", " PATRICK\n", " I missed you.\n", " \n", " MISS PERKY\n", " It says here you exposed yourself to a \n", " group of freshmen girls.\n", " \n", " PATRICK\n", " It was a bratwurst. I was eating \n", " lunch.\n", " \n", " MISS PERKY\n", " With the teeth of your zipper?\n", " \n", " She motions for Patrick to enter her office and Cameron \n", " shuffles out the door, bumping into MICHAEL ECKMAN, a lanky, \n", " brainy senior who will either end up a politician or game \n", " show host.\n", " \n", " MICHAEL\n", " You the new guy?\n", " \n", " CAMERON\n", " So they tell me...\n", " \n", " MICHAEL\n", " C'mon. I'm supposed to give you the \n", " tour.\n", " \n", " They head out of the office\n", " \n", " MICHAEL\n", " (continuing)\n", " So -- which Dakota you from?\n", " \n", " CAMERON\n", " North, actually. How'd you ?\n", " \n", " MICHAEL\n", " I was kidding. People actually live \n", " there?\n", " \n", " CAMERON\n", " Yeah. A couple. We're outnumbered by \n", " the cows, though.\n", " \n", " MICHAEL\n", " How many people were in your old \n", " school?\n", " \n", " CAMERON\n", " Thirty-two.\n", " \n", " MICHAEL\n", " Get out!\n", " \n", " CAMERON\n", " How many people go here?\n", " \n", " MICHAEL\n", " Couple thousand. Most of them evil\n", " \n", " INT. HALLWAY - DAY- CONTINUOUS\n", " \n", " Prom posters adorn the wall. Michael steers Cameron through \n", " the crowd as he points to various cliques.\n", " \n", " MICHAEL\n", " We've got your basic beautiful people. \n", " Unless they talk to you first, don't \n", " bother.\n", " \n", " The beautiful people pass, in full jock/cheerleader \n", " splendor.\n", " \n", " MICHAEL\n", " (continuing)\n", " Those 're your cowboys.\n", " \n", " Several Stetson-wearing, big belt buckle. Wrangler guys \n", " walk by.\n", " \n", " CAMERON\n", " That I'm used to.\n", " \n", " MICHAEL\n", " Yeah, but these guys have never seen a \n", " horse. They just jack off to Clint \n", " Eastwood.\n", " \n", " They pass an espresso cart with a group of teens huddled \n", " around it.\n", " \n", " MICHAEL\n", " (continuing)\n", " To the right, we have the Coffee Kids. \n", " Very edgy. Don't make any sudden \n", " movements around them.\n", " \n", " EXT. SCHOOL COURTYARD - DAY\n", " \n", " Michael continues the tour\n", " \n", " MICHAEL\n", " And these delusionals are the White \n", " Rastae.\n", " \n", " Several white boys in dreadlocks and Jamaican knit berets \n", " lounge on the grass. A cloud of pot smoke hovers above them\n", " \n", " MICHAEL\n", " (continuing)\n", " Big Marley fans. Think they're black. \n", " Semi-political, but mostly, they watch a \n", " lot of Wild Kingdom, if you know what I \n", " mean.\n", " \n", " Michael waves to DEREK, the one with the longest dreads.\n", " \n", " MICHAEL\n", " (continuing)\n", " Derek - save some for after lunch, bub?\n", " \n", " DEREK\n", " (very stoned)\n", " Michael, my brother, peace\n", " \n", " Cameron turns to follow Michael as they walk into the \n", " cafeteria.\n", " \n", " CAMERON\n", " So where do you fit in all this?\n", " \n", " INT. CAFETERIA - DAY - CONTINUOUS\n", " \n", " Loud music and loud students. Michael sits with a group of \n", " studious-looking teens.\n", " \n", " MICHAEL\n", " Future MBAs- We're all Ivy League, \n", " already accepted. Someday I'll be \n", " sipping Merlot while those guys --\n", " \n", " He points to the table of jocks, as they torture various \n", " passers-by.\n", " \n", " MICHAEL\n", " (continuing)\n", " are fixing my Saab. Yuppie greed is \n", " back, my friend.\n", " \n", " He points proudly to the ALLIGATOR on his shirt.\n", " \n", " Cameron stops listening as BIANCA walks by, and we go SLO \n", " MO. Pure and perfect, she passes Cameron and Michael \n", " without a look.\n", " \n", " Cameron is smitten\n", " \n", " CAMERON\n", " That girl -- I --\n", " \n", " MICHAEL\n", " You burn, you pine, you perish?\n", " \n", " CAMERON\n", " Who is she?\n", " \n", " MICHAEL\n", " Bianca Stratford. Sophomore. Don't \n", " even think about it\n", " \n", " CAMERON\n", " Why not?\n", " \n", " MICHAEL\n", " I could start with your haircut, but it \n", " doesn't matter. She's not allowed to \n", " date until her older sister does. And \n", " that's an impossibility.\n", " \n", " ENGLISH CLASS - DAY\n", " \n", " A room full of bored seniors doodle and scare off into space \n", " MS. BLAISE, the one-step-away-from-medication English \n", " Teacher, tries to remember what she's talking about.\n", " \n", " MRS. BLAISE\n", " Well, then. Oh, yes. I guess that \n", " does it for our analysis of The Old Man \n", " and the Sea. Any other comments?\n", " (with dread)\n", " Kat?\n", " \n", " Kat, the girl we saw as we entered the school, slowly cakes \n", " off her glasses and speaks up.\n", " \n", " KAT\n", " Why didn't we just read the Hardy Boys?\n", " \n", " MRS. BLAISE\n", " I'm sorry?\n", " \n", " KAT\n", " This book is about a guy and his \n", " fishing habit. Not exactly a crucial \n", " topic.\n", " \n", " The other students roll their eyes.\n", " \n", " KAT\n", " (continuing)\n", " Frankly, I'm baffled as to why we still \n", " revere Hemingway. He was an abusive, \n", " alcoholic misogynist who had a lot of \n", " cats.\n", " \n", " JOEY DORSEY, a well-muscled jock with great cheekbones, \n", " makes fun of her from his row.\n", " \n", " JOEY\n", " As opposed to a bitter self-righteous \n", " hag who has no friends?\n", " \n", " A few giggles. Kat ignores him. A practiced gesture\n", " \n", " MRS. BLAISE\n", " That's enough, Mr. Dorsey.\n", " \n", " Really gets fired up now\n", " \n", " KAT\n", " I guess the school board thinks because \n", " Hemingway's male and an asshole, he's \n", " worthy of our time\n", " \n", " She looks up at Ms. Blaise, who is now fighting with her \n", " pill box.\n", " \n", " KAT\n", " (continuing)\n", " What about Colette? Charlotte Bronte? \n", " Simone de Beauvoir?\n", " \n", " Patrick, lounging in his seat in the back row, elbows a \n", " crusty-looking crony, identified by the name SCURVY, \n", " embroidered on his workshirt.\n", " \n", " PATRICK\n", " Mother Goose?\n", " \n", " The class titters. Kat wears an expression of intolerance\n", " \n", " INT. GUIDANCE COUNSELOR'S OFFICE - DAY\n", " \n", " Kat now sits before Miss Perky.\n", " \n", " MISS PERKY\n", " Katarina Stratford. My, my. You've \n", " been terrorizing Ms. Blaise again.\n", " \n", " KAT\n", " Expressing my opinion is not a \n", " terrorist action.\n", " \n", " MISS PERKY\n", " Well, yes, compared to your other \n", " choices of expression this year, today's \n", " events are quite mild. By the way, \n", " Bobby Rictor's gonad retrieval operation \n", " went quite well, in case you're \n", " interested.\n", " \n", " KAT\n", " I still maintain that he kicked himself \n", " in the balls. I was merely a spectator.\n", " \n", " MISS PERKY\n", " The point is Kat -- people perceive you \n", " as somewhat ...\n", " \n", " Kat smiles at her, daring her to say it.\n", " \n", " KAT\n", " Tempestuous?\n", " \n", " MISS PERKY\n", " No ... I believe \"heinous bitch\" is the \n", " term used most often.\n", " \n", " She grimaces, as if she's referring to a medical condition.\n", " \n", " MISS PERKY\n", " (continuing)\n", " You might want to work on that\n", " \n", " Kat rises from her chair with a plastic smile matching the \n", " counselor's.\n", " \n", " KAT\n", " As always, thank you for your excellent \n", " guidance.\n", " \n", " INT. SOPHOMORE ENGLISH CLASS - DAY\n", " \n", " Bianca ignores the droning teacher as she writes a note in \n", " big flowing handwriting.\n", " \n", " TEACHER (0.S.)\n", " I realize the language of Mr. \n", " Shakespeare makes him a bit daunting, \n", " but I'm sure you're all doing your best.\n", " \n", " Bianca folds the note and passes it behind her with a flip \n", " of her hair to CHASTITY. Chastity opens the note and reads:\n", " \n", " INSERT - \"JOEY DORSEY SAID HI TO ME IN THE HALL! OH! MY \n", " GOD!\"\n", " \n", " Chastity frowns to herself.\n", " \n", " TEACHER (0.S.)\n", " (continuing)\n", " Ms. Stratford, do you care to comment \n", " on what you've read so far?\n", " \n", " Bianca looks up and smiles the smile of Daddy's little girl.\n", " \n", " BIANCA\n", " Not really.\n", " \n", " The teacher shakes her head, but lets it go.\n", " \n", " MANDELLA. a waif-like senior girl who sits off to the side \n", " trying to slit her wrist with the plastic spiral on her \n", " notebook, looks up and raises her hand.\n", " \n", " TEACHER\n", " Mandella -- since you're assisting us, \n", " you might as well comment. I'm assuming \n", " you read the assignment.\n", " \n", " MANDELLA\n", " Uh, yeah, I read it all\n", " \n", " TEACHER\n", " The whole play^\n", " \n", " MANDELIA\n", " The whole folio. All the plays.\n", " \n", " TEACHER\n", " (disbelieving)\n", " You've read every play by William \n", " Shakespeare?\n", " \n", " MANDELLA\n", " Haven't you?\n", " \n", " She raises a challenging eyebrow. The stunned teacher \n", " doesn't answer and goes to call on the next student.\n", " \n", " EXT. SCHOOL COURTYARD - DAY\n", " \n", " Mandella and Kat sit down in the quiet corner. They are \n", " eating a carton of yogurt with gusto.\n", " \n", " MANDELLA\n", " \n", " Your sister is so amazingly without. She'll never read him. \n", " She has no idea.\n", " \n", " Kat attacks\n", " \n", " KAT\n", " The fact that you're cutting gym so you \n", " can T.A. Sophomore English just to hear \n", " his name, is a little without in itself \n", " if you ask me.\n", " \n", " Kat's attention is caught by Patrick as he walks by with his \n", " friends, lighting up a cigarette. Mandella notices her \n", " staring.\n", " \n", " MANDELLA\n", " Who's that?\n", " \n", " KAT\n", " Patrick Verona Random skid.\n", " \n", " MANDELLA\n", " That's Pat Verona? The one who was gone \n", " for a year? I heard he was doing porn \n", " movies.\n", " \n", " KAT\n", " I'm sure he's completely incapable of \n", " doing anything that interesting.\n", " \n", " MANDELLA\n", " He always look so\n", " \n", " KAT\n", " Block E?\n", " \n", " Kat turns back to face Mandella and forces her yogurt into \n", " Mandella's hand.\n", " \n", " KAT\n", " (continuing)\n", " Mandella, eat. Starving yourself is a \n", " very slow way to die.\n", " \n", " MANDELLA\n", " Just a little.\n", " \n", " She eats. Kat sees her wrist\n", " \n", " KAT\n", " What's this?\n", " \n", " MANDELLA\n", " An attempted slit.\n", " \n", " Kat stares at her, expressionless.\n", " \n", " KAT\n", " I realize that the men of this fine \n", " institution are severely lacking, but \n", " killing yourself so you can be with \n", " William Shakespeare is beyond the scope \n", " of normal teenage obsessions. You're \n", " venturing far past daytime talk show \n", " fodder and entering the world of those \n", " who need very expensive therapy.\n", " \n", " MANDELLA\n", " But imagine the things he'd say during \n", " sex.\n", " \n", " Thinks a minute\n", " \n", " KAT\n", " Okay, say you do it. You kill \n", " yourself, you end up in wherever you end \n", " up and he's there. Do you really think \n", " he's gonna wanna dace a ninety pound \n", " compulsive who failed volleyball?\n", " \n", " Mandella's attention is struck by Bianca\n", " \n", " ACROSS THE COURTYARD\n", " \n", " As she and Chastity parade by Joey and his COHORTS One of \n", " the cohorts elbows Joey.\n", " \n", " COHORT\n", " Virgin alert.\n", " \n", " Joey looks up and smiles at Bianca.\n", " \n", " JOEY\n", " Lookin' good, ladies.\n", " \n", " Bianca smiles her coyest of smiles.\n", " \n", " BACK TO KAT AND MANDELLA Still watching.\n", " \n", " MANDELLA\n", " Tragic.\n", " \n", " Doesn't respond\n", " \n", " ANOTHER ANGLE\n", " \n", " Michael and Cameron observe Joey's leers at Bianca from \n", " their bench in another corner. Cowboys eating cue of a can \n", " of beans linger on the grass behind them.\n", " \n", " CAMERON\n", " Why do girls like that always like guys \n", " like that?\n", " \n", " MICHAEL\n", " Because they're bred to. Their mothers \n", " liked guys like that, and their \n", " grandmothers before them. Their gene \n", " pool is rarely diluted.\n", " \n", " CAMERON\n", " He always have that shit-eating grin?\n", " \n", " MICHAEL\n", " Joey Dorsey? Perma-shit-grin. I wish \n", " I could say he's a moron, but he's \n", " number twelve in the class. And a \n", " model. Mostly regional stuff, but he's \n", " rumored to have a big tube sock ad \n", " coming out.\n", " \n", " The BELL rings, and the cowboys stand and spit into their \n", " empty bean cans. Cameron and Michael rise as Cameron tries \n", " to catch a glimpse of Bianca as she walks back inside.\n", " \n", " MICHAEL\n", " (continuing)\n", " You know French?\n", " \n", " CAMERON\n", " Sure do ... my Mom's from Canada\n", " \n", " MICHAEL\n", " Guess who just signed up for a tutor?\n", " \n", " CAMERON\n", " You mean I'd get a chance to talk to \n", " her?\n", " \n", " MICHAEL\n", " You could consecrate with her, my \n", " friend.\n", " \n", " Cameron watches as Bianca flounces back into the building.\n", " \n", " EXT. SCHOOL PARKING LOT - DAY\n", " \n", " Kat and Mandella walk toward Kat's car. Joey pulls up \n", " beside her in his Viper.\n", " \n", " JOEY\n", " (re her dress)\n", " The vintage look is over, Kat. Haven't \n", " you been reading your Sassy?\n", " \n", " KAT\n", " Yeah, and I noticed the only part of \n", " you featured in your big Kmart spread \n", " was your elbow. Tough break.\n", " \n", " JOEY\n", " (practically \n", " spitting)\n", " They're running the rest of me next \n", " month.\n", " \n", " He zooms away as Kat yanks open the door of her Dart. \n", " Mandella ties a silk scarf around her head, as if they're in \n", " a convertible.\n", " \n", " KAT\n", " The people at this school are so \n", " incredibly foul.\n", " \n", " MANDELLA\n", " You could always go with me. I'm sure \n", " William has some friends.\n", " \n", " They watch Joey's car as he slows next to Bianca and \n", " Chastity as they walk toward the school bus.\n", " \n", " ON BIANCA AND CHASTITY\n", " \n", " JOEY\n", " Need a ride, ladies?\n", " \n", " Bianca and Chastity can't get in Joey's car fast enough. He \n", " pulls away with a smile.\n", " \n", " BACK TO KAT AND MANDELLA\n", " \n", " Mandella lowers her sunglasses to watch.\n", " \n", " MANDELLA\n", " That's a charming new development\n", " \n", " Kat doesn't answer, but reaches over and puts a tape in the \n", " tape deck. The sounds of JOYFUL PUNK ROCK fill the car.\n", " \n", " As they pull out, Michael crosses in front of them on his \n", " moped. Kat has to SLAM the brakes to keep from hitting him\n", " \n", " KAT\n", " (yelling)\n", " Remove head from sphincter! Then \n", " pedal!\n", " \n", " Michael begins fearfully, pedaling as Kat PEELS out, angry \n", " at the delay.\n", " \n", " Cameron rushes over\n", " \n", " CAMERON\n", " You all right?\n", " \n", " He slows to a stop\n", " \n", " MICHAEL\n", " Yeah, just a minor encounter with the \n", " shrew.\n", " \n", " CAMERON\n", " That's her? Bianca's sister?\n", " \n", " MICHAEL\n", " The mewling, rampalian wretch herself.\n", " \n", " Michael putters off, leaving Cameron dodging Patrick's \n", " grimy, grey Jeep -- a vehicle several years and many paint \n", " jobs away from its former glory as a REGULATION MAIL TRUCK -\n", " - as he sideswipes several cars on his way out of the lot.\n", " \n", " INT. STRATFORD HOUSE - DAY\n", " \n", " SHARON STRATFORD, attractive and focused, sits in front of \n", " her computer, typing quickly. A shelf next to her holds \n", " several bodice-ripper romance novels, bearing her name. \n", " \n", " Kat stands behind her, reading over her shoulder as she \n", " types.\n", " \n", " KAT\n", " \"Undulating with desire, Adrienne \n", " removes her crimson cape, revealing her \n", " creamy --\"\n", " \n", " WALTER STRATFORD, a blustery, mad scientist-type \n", " obstetrician, enters through the front door, wearing a \n", " doctor's white jacket and carrying his black bag.\n", " \n", " WALTER\n", " \n", " I hope dinner's ready because I only have ten minutes before \n", " Mrs. Johnson squirts out a screamer.\n", " \n", " He grabs the mail and rifles through it, as he bends down to \n", " kiss Sharon on the cheek.\n", " \n", " SHARON\n", " In the microwave.\n", " \n", " WALTER\n", " (to Kat)\n", " Make anyone cry today?\n", " \n", " KAT\n", " Sadly, no. But it's only four-thirty.\n", " \n", " Bianca walks in.\n", " \n", " KAT\n", " (continuing)\n", " Where've you been?\n", " \n", " BIANCA\n", " (eyeing Walter)\n", " Nowhere... Hi, Daddy.\n", " \n", " She kisses him on the cheek\n", " \n", " WALTER\n", " Hello, precious.\n", " \n", " Walter kisses Bianca back as Kat heads up the stairs\n", " \n", " KAT\n", " How touching.\n", " \n", " Walter holds up a letter to Kat\n", " \n", " WALTER\n", " What's this? It says Sarah Lawrence?\n", " \n", " Snatches it away from him.\n", " \n", " KAT\n", " I guess I got in\n", " \n", " Sharon looks up from her computer.\n", " \n", " SHARON\n", " What's a synonym for throbbing?\n", " \n", " WALTER\n", " Sarah Lawrence is on the other side of \n", " the country.\n", " \n", " KAT\n", " I know.\n", " \n", " WALTER\n", " I thought we decided you were going to \n", " school here. At U of 0.\n", " \n", " KAT\n", " You decided.\n", " \n", " BIANCA\n", " Is there even a question that we want \n", " her to stay?\n", " \n", " Kat gives Bianca an evil look then smiles sweetly at\n", " \n", " KAT\n", " Ask Bianca who drove her home\n", " \n", " SHARON\n", " Swollen...turgid.\n", " \n", " WALTER\n", " (to Bianca; upset)\n", " Who drove you home?\n", " \n", " Bianca glares at Kat then turns to Walter\n", " \n", " BIANCA\n", " Now don't get upset. Daddy, but there's \n", " this boy... and I think he might ask...\n", " \n", " WALTER\n", " No! You're not dating until your sister \n", " starts dating. End of discussion.\n", " \n", " BIANCA\n", " What if she never starts dating?\n", " \n", " WALTER\n", " Then neither will you. And I'll get to \n", " sleep at night.\n", " \n", " BIANCA\n", " But it's not fair -- she's a mutant, \n", " Daddy!\n", " \n", " KAT\n", " This from someone whose diary is \n", " devoted to favorite grooming tips?\n", " \n", " WALTER\n", " Enough!\n", " \n", " He pulls out a small tape recorder from his black bag.\n", " \n", " WALTER\n", " (continuing)\n", " Do you know what this is?\n", " \n", " He hits the \"play' button and SHRIEKS OF PAIN emanate from \n", " the tape recorder.\n", " \n", " BIANCA AND WALTER\n", " (in unison, by \n", " rote)\n", " The sound of a fifteen-year-old in \n", " labor.\n", " \n", " WALTER\n", " This is why you're not dating until \n", " your sister does.\n", " \n", " BIANCA\n", " But she doesn't want to date.\n", " \n", " WALTER\n", " Exactly my point\n", " \n", " His BEEPER goes off and he grabs his bag again\n", " \n", " WALTER\n", " (continuing)\n", " Jesus! Can a man even grab a sandwich \n", " before you women start dilating?\n", " \n", " SHARON\n", " Tumescent!\n", " \n", " WALTER\n", " (to Sharon; as he \n", " leaves)\n", " You're not helping.\n", " \n", " INT. TUTORING ROOM - DAY\n", " \n", " Cameron sits with an empty chair beside him. Bianca arrives \n", " in a flurry of blonde hair.\n", " \n", " BIANCA\n", " Can we make this quick? Roxanne \n", " Korrine and Andrew Barrett are having an \n", " incredibly horrendous public break- up \n", " on the quad. Again.\n", " \n", " CAMERON\n", " Well, I thought we'd start with \n", " pronunciation, if that's okay with you.\n", " \n", " BIANCA\n", " Not the hacking and gagging and spitting part. Please.\n", " \n", " CAMERON\n", " (looking down)\n", " Okay... then how 'bout we try out some \n", " French cuisine. Saturday? Night?\n", " \n", " Bianca smiles slowly\n", " \n", " BIANCA\n", " You're asking me out. That's so cute. \n", " What's your name again?\n", " \n", " CAMERON\n", " (embarrassed)\n", " Forget it.\n", " \n", " Bianca seizes an opportunity.\n", " \n", " BIANCA\n", " No, no, it's my fault -- we didn't have \n", " a proper introduction ---\n", " \n", " CAMERON\n", " Cameron.\n", " \n", " BIANCA\n", " The thing is, Cameron -- I'm at the \n", " mercy of a particularly hideous breed of \n", " loser. My sister. I can't date until \n", " she does.\n", " \n", " CAMERON\n", " Seems like she could get a date easy \n", " enough...\n", " \n", " She fingers a lock of her hair. He looks on, dazzled.\n", " \n", " BIANCA\n", " \n", " The problem is, she's completely anti-social.\n", " \n", " CAMERON\n", " Why?\n", " \n", " BIANCA\n", " Unsolved mystery. She used to be \n", " really popular when she started high \n", " school, then it was just like she got \n", " sick of it or something.\n", " \n", " CAMERON\n", " That's a shame.\n", " \n", " She reaches out and touches his arm\n", " \n", " BIANCA\n", " Gosh, if only we could find Kat a \n", " boyfriend...\n", " \n", " CAMERON\n", " Let me see what I can do.\n", " \n", " Cameron smiles, having no idea how stupid he is\n", " \n", " INT. BIOLOGY CLASS\n", " \n", " A frog is being torn asunder by several prongs and picks. \n", " Michael and Cameron go for the spleen.\n", " \n", " MICHAEL\n", " You're in school for one day and you \n", " ask out the most beautiful girl? Do you \n", " have no concept of the high school \n", " social code?\n", " \n", " Cameron grins away\n", " \n", " CAMERON\n", " I teach her French, get to know her, \n", " dazzle her with charm and she falls in \n", " love with me.\n", " \n", " MICHAEL\n", " Unlikely, but even so, she still can't \n", " go out with you. So what's the\n", " point?\n", " \n", " Cameron motions with his head toward Patrick, a few lab \n", " tables away. He's wearing biker glasses instead of goggles \n", " as he tries to revive his frog.\n", " \n", " CAMERON\n", " What about him?\n", " \n", " MICHAEL\n", " (confused)\n", " You wanna go out with him?\n", " \n", " The others at the lab table raise their eyebrows\n", " \n", " CAMERON\n", " (impatient)\n", " No - he could wrangle with the sister.\n", " \n", " Michael smiles. Liking the intrigue.\n", " \n", " MICHAEL\n", " What makes you think he'll do it?\n", " \n", " CAMERON\n", " He seems like he thrives on danger\n", " \n", " MICHAEL\n", " No kidding. He's a criminal. I heard \n", " he lit a state trooper on fire. He just \n", " got out of Alcatraz...\n", " \n", " CAMERON\n", " They always let felons sit in on Honors \n", " Biology?\n", " \n", " MICHAEL\n", " I'm serious, man, he's whacked. He \n", " sold his own liver on the black market \n", " so he could buy new speakers.\n", " \n", " CAMERON\n", " Forget his reputation. Do you think \n", " we've got a plan or not?\n", " \n", " MICHAEL\n", " Did she actually say she'd go out with \n", " you?\n", " \n", " CAMERON\n", " That's what I just said\n", " \n", " Michael processes this.\n", " \n", " MICHAEL\n", " You know, if you do go out with Bianca, \n", " you'd be set. You'd outrank everyone. \n", " Strictly A-list. With me by your side.\n", " \n", " CAMERON\n", " I thought you hated those people.\n", " \n", " MICHAEL\n", " Hey -- I've gotta have a few clients \n", " when I get to Wall Street.\n", " \n", " A cowboy flicks the frog's heart into one of the Coffee \n", " Kid's latte. Cameron presses on, over the melee.\n", " \n", " CAMERON\n", " So now all we gotta do is talk to him.\n", " \n", " He points to Patrick, who now makes his frog hump another \n", " frog, with full-on sound effects.\n", " \n", " MICHAEL\n", " I'll let you handle that.\n", " \n", " INT. WOODSHOP - DAY\n", " \n", " Boys and a few stray girls nail their pieces of wood\n", " \n", " Michael sits next to PEPE, a Coffee Kid, who holds out his \n", " jacket like the men who sell watches in the subway. Inside \n", " several bags of coffee hang from hooks.\n", " \n", " PEPE\n", " Some people like the Colombian, but it \n", " all depends on your acidity preference. \n", " Me? I prefer East African and \n", " Indonesian. You start the day with a \n", " Sumatra Boengie or maybe and Ethiopian \n", " Sidamo in your cup, you're that much \n", " farther ahead than someone drinkin' \n", " Cosia Rican or Kona -- you know what I \n", " mean?\n", " \n", " Michael nods solemnly.\n", " \n", " ACROSS THE ROOM\n", " \n", " Patrick sits at a table with Scurvy, making something that \n", " looks like a machete out of a two-by-four.\n", " \n", " Cameron approaches, full of good-natured farm boy cheer\n", " \n", " CAMERON\n", " Hey, there\n", " \n", " In response, Patrick brandishes a loud POWER TOOL in his \n", " direction.\n", " \n", " Cameron slinks away.\n", " \n", " CAMERON\n", " (continuing)\n", " Later, then. \n", " \n", " Michael watches, shaking his head.\n", " \n", " INT. CAFETERIA - DAY\n", " \n", " Joey and his pals take turns drawing boobs onto a cafeteria \n", " tray with a magic marker.\n", " \n", " Michael walks up and sits between them, casual as can be\n", " \n", " MICHAEL\n", " Hey.\n", " \n", " JOEY\n", " Are you lost?\n", " \n", " MICHAEL\n", " Nope - just came by to chat\n", " \n", " JOEY\n", " We don't chat.\n", " \n", " MICHAEL\n", " Well, actually, I thought I'd run an \n", " idea by you. You know, just to see if \n", " you're interested.\n", " \n", " JOEY\n", " We're not.\n", " \n", " He grabs Michael by the side of the head, and proceeds to \n", " draw a penis on his cheek with the magic marker. Michael \n", " suffers the indignity and speaks undaunted.\n", " \n", " MICHAEL\n", " (grimacing)\n", " Hear me out. You want Bianca don't \n", " you?\n", " \n", " Joey sits back and cackles at his drawing.\n", " \n", " MICHAEL\n", " (continuing)\n", " But she can't go out with you because \n", " her sister is this insane head case and \n", " no one will go out with her. right?\n", " \n", " JOEY\n", " Does this conversation have a purpose?\n", " \n", " MICHAEL\n", " So what you need to do is recruit a guy \n", " who'll go out with her. Someone who's \n", " up for the job.\n", " \n", " Michael points to Patrick, who makes a disgusted face at his \n", " turkey pot pie before he rises and throws it at the garbage \n", " can, rather than in it.\n", " \n", " JOEY\n", " \n", " That guy? I heard he ate a live duck once. Everything but \n", " the beak and the feet.\n", " \n", " MICHAEL\n", " Exactly\n", " \n", " Joey turns to look at Michael.\n", " \n", " JOEY\n", " \n", " What's in it for you?\n", " \n", " MICHAEL\n", " Oh, hey, nothin' man Purely good will \n", " on my part.\n", " \n", " He rises to leave and turns to the others.\n", " \n", " MICHAEL\n", " (continuing)\n", " I have a dick on my face, don't I? \n", " \n", " INT. BOY'S ROOM - DAY\n", " \n", " Michael stands at the sink, trying to scrub Joey's artwork \n", " off his face as Cameron watches.\n", " \n", " CAMERON\n", " You got him involved?\n", " \n", " MICHAEL\n", " Like we had a choice? Besides -- when \n", " you let the enemy think he's \n", " orchestrating the battle, you're in a \n", " position of power. We let him pretend \n", " he's calling the shots, and while he's \n", " busy setting up the plan, you have time \n", " to woo Bianca.\n", " \n", " Cameron grins and puts an arm around him\n", " \n", " CAMERON\n", " You're one brilliant guy\n", " \n", " Michael pulls back, noticing other guys filing in.\n", " \n", " MICHAEL\n", " \n", " Hey - I appreciate gratitude as much as the next guy, but \n", " it's not gonna do you any good to be known as New Kid Who \n", " Embraces Guys In The Bathroom. \n", " \n", " Cameron pulls back and attempts to posture himself in a \n", " manly way for the others, now watching.\n", " \n", " INT. KENNY'S THAI FOOD DINER - DAY\n", " \n", " Kat and Mandella pick apart their pad thai. Mandella is \n", " smoking.\n", " \n", " KAT\n", " So he has this huge raging fit about \n", " Sarah Lawrence and insists that I go to \n", " his male-dominated, puking frat boy, \n", " number one golf team school. I have no \n", " say at all.\n", " \n", " MANDELLA\n", " William would never have gone to a \n", " state school.\n", " \n", " KAT\n", " William didn't even go to high school\n", " \n", " MANDELLA\n", " That's never been proven\n", " \n", " KAT\n", " Neither has his heterosexuality.\n", " \n", " Mandella replies with a look of ice. Kat uses the moment to \n", " stub out Mandella's cigarette. \n", " \n", " KAT\n", " (continuing)\n", " I appreciate your efforts toward a \n", " speedy death, but I'm consuming.\n", " (pointing at her \n", " food)\n", " Do you mind?\n", " \n", " MANDELLA\n", " Does it matter?\n", " \n", " KAT\n", " If I was Bianca, it would be, \"Any \n", " school you want, precious. Don't forget \n", " your tiara.\"\n", " \n", " They both look up as Patrick enters. He walks up to the \n", " counter to place his order.\n", " \n", " Mandella leans toward Kat with the glow of fresh gossip\n", " \n", " MANDELLA\n", " Janice Parker told me he was a roadie \n", " for Marilyn Manson.\n", " \n", " Patrick nods at them as he takes his food outside.\n", " \n", " KAT \n", " Janice Parker is an idiot\n", " \n", " INT. MISS PERKY'S OFFICE - DAY \n", " \n", " Patrick sits before Miss Perky, eating his Thai food\n", " \n", " MISS PERKY \n", " (looking at chart)\n", " I don't understand, Patrick. You \n", " haven't done anything asinine this week. \n", " Are you not feeling well?\n", " \n", " PATRICK\n", " Touch of the flu.\n", " \n", " MISS PERKY\n", " I'm at a loss, then. What should we \n", " talk about? Your year of absence?\n", " \n", " He smiles his charming smile\n", " \n", " PATRICK\n", " How 'bout your sex life?\n", " \n", " She tolerates his comment with her withering glance.\n", " \n", " MISS PERKY\n", " Why don't we discuss your driving need \n", " to be a hemorrhoid?\n", " \n", " PATRICK \n", " What's to discuss?\n", " \n", " MISS PERKY\n", " You weren't abused, you aren't stupid, \n", " and as far as I can tell, you're only \n", " slightly psychotic -- so why is it that \n", " you're such a fuck-up?\n", " \n", " PATRICK\n", " Well, you know -- there's the prestige \n", " of the job title... and the benefits \n", " package is pretty good...\n", " \n", " The bell RINGS.\n", " \n", " MISS PERKY\n", " Fine. Go do something repugnant and \n", " give us something to talk about next \n", " week.\n", " \n", " INT. TUTORING ROOM - DAY\n", " \n", " Several pairs of tutors and students sit at the various \n", " desks.\n", " \n", " Mandella sits with TREVOR, a White Rasta. She attempts to \n", " get him to do geometry, but he stares at her, as if smitten\n", " \n", " MANDELLA\n", " Look, it's really easy.\n", " \n", " TREVOR\n", " You're a freedom fighter. Be proud, \n", " sister.\n", " \n", " Mandella sets down her pencil and closes the book.\n", " \n", " MANDELLA \n", " (rotely)\n", " It's Mandella with two L's. I am not \n", " related to Nelson Mandela. I am not a \n", " political figure. I do not live in \n", " South Africa. My parents just spent a \n", " few too many acid trips thinking they \n", " were revolutionaries.\n", " \n", " TREVOR \n", " But you freed our people\n", " \n", " MANDELLA\n", " Your \"people\" are white, suburban high \n", " school boys who smoke too much hemp. I \n", " have not freed you, Trevor.\n", " (grabbing his arm \n", " dramatically)\n", " Only you can free yourself.\n", " \n", " ACROSS THE ROOM Bianca and Cameron sit side by side, cozy as \n", " can be\n", " \n", " BIANCA\n", " C'esc ma tete. This is my head\n", " \n", " CAMERON\n", " Right. See? You're ready for the \n", " quiz.\n", " \n", " BIANCA\n", " I don't want to know how to say that \n", " though. I want to know useful things. \n", " Like where the good stores are. How \n", " much does champagne cost? Stuff like \n", " Chat. I have never in my life had to \n", " point out my head to someone.\n", " \n", " CAMERON\n", " That's because it's such a nice one.\n", " \n", " BIANCA\n", " Forget French.\n", " \n", " She shuts her book and puts on a seductive smile\n", " \n", " BIANCA\n", " (continuing)\n", " How is our little Find the Wench A Date \n", " plan progressing?\n", " \n", " CAMERON\n", " Well, there's someone I think might be \n", " --\n", " \n", " Bianca's eyes light up\n", " \n", " BIANCA\n", " Show me\n", " \n", " INT. HALLWAY - DAY\n", " \n", " Cameron and Bianca lean against the wall -inconspicuously. \n", " Bianca plays it cool.\n", " \n", " BIANCA\n", " Give me a sign when he walks by. And \n", " don't point.\n", " \n", " The bell RINGS. Kids flood past. Then Patrick saunters by \n", " with Scurvy. Cameron nudges Bianca.\n", " \n", " CAMERON\n", " There.\n", " \n", " BIANCA\n", " Where?\n", " \n", " Out of desperation, Cameron awkwardly lunges across \n", " Patrick's path. Patrick shoves him back against the wall \n", " without a thought. Cameron lands in a THUD at Bianca's \n", " feet.\n", " \n", " CAMERON\n", " I guess he didn't see me \n", " (calling after \n", " Patrick) \n", " Some other time --\n", " \n", " Bianca watches Patrick, a wicked gleam in her eye.\n", " \n", " BIANCA\n", " My God, he's repulsive. He's so \n", " perfect!\n", " \n", " INT. GYM CLASS - DAY \n", " \n", " Several volleyball games are being played.\n", " \n", " Joey and a member of his hulking entourage, approach \n", " Patrick, who still manages to look cool, even in gym \n", " clothes. They pull him aside roughly.\n", " \n", " PATRICK \n", " (shrugging them \n", " off)\n", " What?\n", " \n", " Joey points\n", " \n", " JOEY See that girl?\n", " \n", " Patrick follows his line of vision to Kat as she spikes the \n", " ball into some poor cowboy's face.\n", " \n", " PATRICK\n", " Yeah\n", " \n", " JOEY \n", " What do you think?\n", " \n", " Kat wins the game and high fives the others, who are scared \n", " of her.\n", " \n", " PATRICK\n", " Two legs, nice rack...\n", " \n", " JOEY\n", " Yeah, whatever. I want you to go out \n", " with her.\n", " \n", " PATRICK\n", " Sure, Sparky. I'll get right on it.\n", " \n", " JOEY \n", " You just said\n", " \n", " PATRICK\n", " You need money to take a girl out\n", " \n", " JOEY\n", " But you'd go out with her if you had \n", " the cake?\n", " \n", " Patrick stares at Joey deadpan. His dislike for the guy \n", " obvious.\n", " \n", " PATRICK \n", " (sarcastic)\n", " Yeah, I'd take her to Europe if I had \n", " the plane.\n", " \n", " Joey smiles.\n", " \n", " JOEY\n", " You got it, Verona. I pick up the tab, \n", " you do the honors.\n", " \n", " PATRICK\n", " You're gonna pay me to take out some \n", " girl?\n", " \n", " JOEY\n", " I can't date her sister until that one \n", " gets a boyfriend. And that's the catch. \n", " She doesn't want a boyfriend.\n", " \n", " PATRICK \n", " How much?\n", " \n", " JOEY\n", " \n", " Twenty bucks each time you take her out.\n", " \n", " PATRICK\n", " I can't take a girl like that out on \n", " twenty bucks.\n", " \n", " JOEY \n", " Fine, thirty.\n", " \n", " Patrick raises an eyebrow, urging him up\n", " \n", " JOEY \n", " (continuing)\n", " Take it or leave it. This isn't a \n", " negotiation.\n", " \n", " PATRICK\n", " Fifty, and you've got your man.\n", " \n", " Patrick walks away with a smile\n", " \n", " EXT. FIELD HOCKEY FIELD - DAY\n", " \n", " Kat and the rest of the team go through a grueling practice \n", " session. Kat spares no one as she whips the ball all over \n", " the field.\n", " \n", " Patrick sits on the bleachers nearby, watching. A cigarette \n", " dangles from his mouth. His pal, SCURVY is next to him.\n", " \n", " MR. CHAPIN, the coach, blows the WHISTLE.\n", " \n", " MR. CHAPIN \n", " (proudly) \n", " Good run, Stratford.\n", " \n", " Kat nods in response, and the girls leave the field. Patrick \n", " hops down to follow.\n", " \n", " PATRICK \n", " Hey. Girlie.\n", " \n", " Kat stops and turns slowly to look at him.\n", " \n", " PATRICK \n", " (continuing) \n", " I mean Wo-man. How ya doin'?\n", " \n", " KAT \n", " (smiles brightly)\n", " Sweating like a pig, actually. And \n", " yourself?\n", " \n", " PATRICK\n", " There's a way to get a guy's attention.\n", " \n", " KAT\n", " My mission in life.\n", " \n", " She stands there undaunted, hand on hip.\n", " \n", " KAT \n", " (continuing)\n", " Obviously, I've struck your fancy. So, \n", " you see, it worked. The world makes \n", " sense again.\n", " \n", " Patrick's eyes narrow. He steps closer.\n", " \n", " PATRICK \n", " Pick you up Friday, then\n", " \n", " KAT\n", " Oh, right. Friday.\n", " \n", " PATRICK backs up a little. He uses his most seductive tone\n", " \n", " PATRICK\n", " The night I take you to places you've \n", " never been before. And back.\n", " \n", " KAT\n", " Like where? The 7-Eleven on Burnside? \n", " Do you even know my name, screwboy?\n", " \n", " PATRICK \n", " I know a lot more than that\n", " \n", " Kat stares at him.\n", " \n", " KAT \n", " Doubtful. Very doubtful.\n", " \n", " She walks away quickly, leaving him standing alone.\n", " \n", " PATRICK \n", " (calling after her)\n", " You're no bargain either, sweetheart.\n", " \n", " Scurvy appears at his side\n", " \n", " SCURVY\n", " So I guess the Jeep won't be getting a \n", " new Blaupunkt.\n", " \n", " ACROSS THE FIELD Cameron and Michael watch.\n", " \n", " MICHAEL \n", " He took the bait.\n", " \n", " STRATFORD HOUSE/BATHROOM - NIGHT\n", " \n", " Kat washes her face at the sink. Bianca appears behind her, \n", " and attempts to twist Kat's hair into a chignon.\n", " \n", " She wacks Bianca away.\n", " \n", " BIANCA\n", " Have you ever considered a new look? I \n", " mean, seriously, you could have some \n", " potential buried under all this \n", " hostility.\n", " \n", " Kat pushes past her into the hallway.\n", " \n", " KAT\n", " I have the potential to smack the crap \n", " out of you if you don't get out of my \n", " way.\n", " \n", " BIANCA\n", " Can you at least start wearing a bra?\n", " \n", " Kat SLAMS her door in response.\n", " \n", " INT. HALLWAY - DAY \n", " \n", " Patrick, Scurvy and some other randoms head for the exit\n", " \n", " SCURVY You up for a burger?\n", " \n", " Patrick looks in his wallet. It's empty.\n", " \n", " INT. HALLWAY - DAY\n", " \n", " Kat stands at her locker, gathering her books. Patrick \n", " appears at her side, smiling.\n", " \n", " PATRICK\n", " Hey\n", " \n", " Kat doesn't answer\n", " \n", " PATRICK \n", " (continuing) \n", " You hate me don't you?\n", " \n", " KAT\n", " I don't really think you warrant that \n", " strong an emotion.\n", " \n", " PATRICK\n", " Then say you'll spend Dollar Night at \n", " the track with me.\n", " \n", " KAT \n", " And why would I do that?\n", " \n", " PATRICK\n", " Come on -- the ponies, the flat beer, \n", " you with money in your eyes, me with my \n", " hand on your ass...\n", " \n", " KAT\n", " You -- covered in my vomit.\n", " \n", " PATRICK \n", " Seven-thirty?\n", " \n", " She slams her locker shut and walks away\n", " \n", " EXT. DOWNTOWN STREET - NIGHT\n", " \n", " Kat emerges from a music store carrying a bag of CDs in her \n", " teeth, and fumbling through her purse with both hands. She \n", " finds her keys and pulls them out with a triumphant tug.\n", " \n", " She looks up and finds Patrick sitting on the hood of her \n", " car\n", " \n", " PATRICK \n", " Nice ride. Vintage fenders.\n", " \n", " Kat takes the bag out of her mouth.\n", " \n", " KAT \n", " Are you following me?\n", " \n", " PATRICK\n", " I was in the laundromat. I saw your \n", " car. Thought I'd say hi.\n", " \n", " KAT \n", " Hi\n", " \n", " She gets in and starts the car.\n", " \n", " PATRICK\n", " You're not a big talker, are you?\n", " \n", " KAT\n", " Depends on the topic. My fenders don't \n", " really whip me into a verbal frenzy.\n", " \n", " She starts to pull out, and is blocked by Joey's Viper, \n", " which pulls up perpendicular to her rear and parks.\n", " \n", " Joey and his groupies emerge and head for the liquor store\n", " \n", " KAT \n", " (continuing)\n", " Hey -- do you mind?\n", " \n", " JOEY \n", " Not at all\n", " \n", " They continue on into the store. Kat stares at them in \n", " disbelief...\n", " \n", " Then BACKS UP\n", " \n", " Her vintage fenders CRASH into the door of Joey's precious \n", " Viper.\n", " \n", " Patrick watches with a delighted grin Joey races out of the \n", " liquor store.\n", " \n", " JOEY \n", " (continuing) \n", " You fucking bitch!\n", " \n", " Kat pulls forward and backs into his car again. Smiling \n", " sweetly.\n", " \n", " INT. STRATFORD HOUSE - NIGHT \n", " \n", " Walter paces as Kat sits calmly on the couch.\n", " \n", " WALTER\n", " My insurance does not cover PMS\n", " \n", " KAT\n", " Then tell them I had a seizure.\n", " \n", " WALTER\n", " Is this about Sarah Lawrence? You \n", " punishing me?\n", " \n", " KAT\n", " I thought you were punishing me.\n", " \n", " WALTER\n", " Why can't we agree on this?\n", " \n", " KAT\n", " Because you're making decisions for me.\n", " \n", " WALTER\n", " As a parent, that's my right\n", " \n", " KAT\n", " So what I want doesn't matter?\n", " \n", " WALTER\n", " You're eighteen. You don't know what \n", " you want. You won't know until you're \n", " forty-five and you don't have it.\n", " \n", " KAT \n", " (emphatic)\n", " I want to go to an East Coast school! I \n", " want you to trust me to make my own \n", " choices. I want --\n", " \n", " Walter's BEEPER goes off\n", " \n", " WALTER\n", " Christ! I want a night to go by that \n", " I'm not staring a contraction in the \n", " face.\n", " \n", " He walks out, leaving Kat stewing on the couch.\n", " \n", " INT. HALLWAY - DAY\n", " \n", " Patrick shuts his graffiti-encrusted locker, revealing \n", " Joey's angry visage, glowering next to him.\n", " \n", " JOEY\n", " When I shell out fifty, I expect \n", " results.\n", " \n", " PATRICK \n", " I'm on it\n", " \n", " JOEY\n", " Watching the bitch trash my car doesn't \n", " count as a date.\n", " \n", " PATRICK\n", " I got her under control. She just acts \n", " crazed in public to keep up the image.\n", " \n", " Joey sees through the bluff\n", " \n", " JOEY\n", " Let me put it to you this way, if you \n", " don't get any action, I don't get any \n", " action. So get your ass on hers by the \n", " end of the week.\n", " \n", " Joey starts to walk off\n", " \n", " PATRICK \n", " I just upped my price\n", " \n", " JOEY \n", " (turning)\n", " What?\n", " \n", " PATRICK\n", " A hundred bucks a date.\n", " \n", " JOEY \n", " Forget it.\n", " \n", " PATRICK\n", " Forget her sister, then.\n", " \n", " Joey thinks for a frustrated moment, PUNCHES the locker, \n", " then peels another fifty out of his wallet with a menacing \n", " scowl.\n", " \n", " JOEY\n", " You better hope you're as smooth as you \n", " think you are, Verona.\n", " \n", " Patrick takes the money with a smile.\n", " \n", " INT. TUTORING ROOM - DAY \n", " Cameron runs a sentence past Bianca.\n", " \n", " CAMERON\n", " La copine et I 'ami? La diferance?\n", " \n", " Bianca glares at him.\n", " \n", " BIANCA\n", " A \"copine\" is someone you can count on. \n", " An \"ami\" is someone who makes promises \n", " he can't keep.\n", " \n", " Cameron closes the French book\n", " \n", " CAMERON\n", " You got something on your mind?\n", " \n", " BIANCA\n", " I counted on you to help my cause. You \n", " and that thug are obviously failing. \n", " Aren't we ever going on our date?\n", " \n", " He melts\n", " \n", " CAMERON\n", " You have my word. As a gentleman\n", " \n", " BIANCA\n", " You're sweet.\n", " \n", " She touches his hand. He blushes at her praise and watches \n", " her toss her hair back\n", " \n", " CAMERON\n", " (appreciative)\n", " How do you get your hair to look like \n", " that?\n", " \n", " BIANCA\n", " Eber's Deep Conditioner every two days. \n", " And I never, ever use a blowdryer \n", " without the diffuser attachment.\n", " \n", " Cameron nods with interest.\n", " \n", " CAMERON\n", " You know, I read an article about that.\n", " \n", " Bianca looks surprised.\n", " \n", " BIANCA\n", " You did?\n", " \n", " INT. BOY'S ROOM - DAY\n", " \n", " Patrick stands at the sink, washing his hands Michael and \n", " Cameron cower in the corner, watching him.\n", " \n", " PATRICK \n", " (without turning \n", " around) \n", " Say it\n", " \n", " MICHAEL \n", " (clearing his \n", " throat) \n", " What?\n", " \n", " PATRICK\n", " Whatever the hell it is you're standin' \n", " there waitin' to say.\n", " \n", " Cameron bravely steps forward\n", " \n", " CAMERON\n", " We wanted to talk to you about the \n", " plan.\n", " \n", " Patrick turns toward them.\n", " \n", " PATRICK \n", " What plan?\n", " \n", " MICHAEL\n", " The situation is, my man Cameron here \n", " has a major jones for Bianca Stratford.\n", " \n", " PATRICK\n", " What is it with this chick? She have \n", " three tits?\n", " \n", " Cameron starts to object, but Michael holds up a hand.\n", " \n", " MICHAEL\n", " I think I speak correctly when I say \n", " that Cameron's love is pure. Purer than \n", " say -- Joey Dorsey's.\n", " \n", " PATRICK\n", " Dorsey can plow whoever he wants. I'm \n", " just in this for the cash.\n", " \n", " Cameron starts choking at the thought of Joey plowing his \n", " beloved Bianca.\n", " \n", " MICHAEL\n", " That's where we can help you. With \n", " Kat.\n", " \n", " PATRICK \n", " So Dorsey can get the girl?\n", " \n", " MICHAEL\n", " Patrick, Pat, you're not looking at the \n", " big picture. Joey's just a pawn. We set \n", " this whole thing up so Cameron can get \n", " the girl.\n", " \n", " Patrick smiles. He likes the idea of Joey being a pawn in \n", " this game.\n", " \n", " PATRICK\n", " You two are gonna help me tame the wild \n", " beast?\n", " \n", " MICHAEL \n", " (grinning) \n", " We're your guys.\n", " \n", " CAMERON\n", " And he means that strictly in a non- \n", " prison-movie type of way.\n", " \n", " PATRICK \n", " Yeah -- we'll see.\n", " \n", " He swings the door open and exits, leaving Michael and \n", " Cameron grinning at each other.\n", " \n", " MICHAEL \n", " We're in.\n", " \n", " INT. CLASSROOM - DAY\n", " \n", " CU on a party invitation as it gets handed out. \"Future \n", " Princeton Grad Bogey Lowenstein proudly presents a Saturday \n", " night bash at his abode. Casual attire\".\n", " \n", " Michael holds the invitation up to Cameron.\n", " \n", " CAMERON\n", " This is it. A golden opportunity. \n", " Patrick can ask Katarina to the party.\n", " \n", " MICHAEL\n", " In that case, we'll need to make it a \n", " school-wide blow out.\n", " \n", " CAMERON\n", " Will Bogey get bent?\n", " \n", " MICHAEL\n", " Are you kidding? He'll piss himself \n", " with joy. He's the ultimate kiss ass.\n", " \n", " CAFETERIA - DAY\n", " \n", " Michael hands a jock the party invite as they pass each \n", " other at the trash cans.\n", " \n", " INT. GYM CLASS - DAY \n", " \n", " The jock calls a fellow jock \n", " \n", " INT. MATH CLASS - DAY \n", " \n", " Jock whispers to a cheerleader \n", " \n", " COURTYARD - DAY\n", " \n", " The cheerleader calls a White Rasta that she's making out \n", " with, showing him the invite.\n", " \n", " TRACK - DAY\n", " \n", " The White Rasta tells a cowboy as they run laps during track \n", " practice.\n", " \n", " INT. SHOWERS - DAY\n", " \n", " The cowboy Cells a Coffee Kid, as he shields his java from \n", " the spray of the shower.\n", " \n", " INT. HALLWAY - DAY\n", " \n", " Joey stands ac his open locker with Bianca. The locker is \n", " an homage to Joey's \"modeling\" career. Cheesy PRINT ADS of \n", " him -- running in a field of daisies, petting a kitten, etc. \n", " -- adorn the locker door.\n", " \n", " JOEY \n", " Which do you like better?\n", " \n", " INSERT - HEADSHOTS of Joey. In one, he's pouting in a white \n", " shirt. In the other, he's pouting in a black shirt.\n", " \n", " BIANCA\n", " I think I like the white shirt\n", " \n", " Joey nods thoughtfully.\n", " \n", " JOEY \n", " It's more\n", " \n", " BIANCA\n", " Expensive?\n", " \n", " \n", " JOEY\n", " Exactly \n", " (beat)\n", " So, you going to Bogey Lowenbrau's \n", " thing on Saturday?\n", " \n", " BIANCA\n", " Hopefully.\n", " \n", " He gives her his best flirtatious smile\n", " \n", " JOEY\n", " Good, 'cause I'm not gonna bother if \n", " you won't be there.\n", " \n", " He taps her on the nose and she giggles\n", " \n", " INT. TUTORING ROOM \n", " Bianca sits across from Cameron, who's transfixed, as always\n", " \n", " BIANCA\n", " Have you heard about Bogey Lowenstein's \n", " party?\n", " \n", " CAMERON\n", " Sure have.\n", " \n", " BIANCA\n", " (pouting)\n", " I really, really, really wanna go, but \n", " I can't. Not unless my sister goes.\n", " \n", " CAMERON\n", " I'm workin' on it. But she doesn't seem \n", " to be goin' for him.\n", " \n", " He fishes.\n", " \n", " CAMERON\n", " (continuing) \n", " She's not a...\n", " \n", " BIANCA\n", " Lesbian? No. I found a picture of \n", " Jared Leto in one of her drawers, so I'm \n", " pretty sure she's not harboring same-sex \n", " tendencies.\n", " \n", " CAMERON\n", " So that's the kind of guy she likes? \n", " Pretty ones?\n", " \n", " BIANCA\n", " Who knows? All I've ever heard her say \n", " is that she'd dip before dating a guy \n", " that smokes.\n", " \n", " Cameron furiously takes notes\n", " \n", " CAMERON\n", " All right. What else is she partial \n", " to?\n", " \n", " INT. DIVE BAR - NIGHT \n", " Patrick plays pool with some random deviant cronies.\n", " \n", " He looks up when he hears a COMMOTION at the door. LOU the \n", " bouncer is in the midst of throwing Michael and Cameron out.\n", " \n", " PATRICK\n", " Lou, it's okay. They're with me.\n", " \n", " Lou looks at Patrick, surprised, then reluctantly lets our \n", " two non-deviants pass through.\n", " \n", " Patrick guides them to a table and sips from a beer.\n", " \n", " PATRICK \n", " (continuing)\n", " What've you got for me?\n", " \n", " CAMERON\n", " I've retrieved certain pieces of \n", " information on Miss Katarina Stratford I \n", " think you'll find helpful.\n", " \n", " Cameron pulls out a piece of paper.\n", " \n", " MICHAEL \n", " (to Patrick)\n", " \n", " One question before we start -- should you be drinking \n", " alcohol when you don't have a liver?\n", " \n", " PATRICK\n", " What?!\n", " \n", " MICHAEL \n", " Good enough.\n", " \n", " Cameron looks up at Patrick.\n", " \n", " CAMERON\n", " Number one. She hates smokers\n", " \n", " MICHAEL \n", " It's a lung cancer issue\n", " \n", " CAMERON\n", " Her favorite uncle\n", " \n", " MICHAEL \n", " Dead at forty-one.\n", " \n", " Patrick sits up\n", " \n", " PATRICK\n", " Are you telling me I'm a - \n", " (spits the word \n", " out)\n", " \"non-smoker\"?\n", " \n", " MICHAEL \n", " Just for now.\n", " \n", " CAMERON\n", " Another thing. Bianca said that Kat \n", " likes -- pretty guys.\n", " \n", " This is met with silence. Then:\n", " \n", " PATRICK\n", " What? You don't think I'm pretty?\n", " \n", " Michael smacks Cameron\n", " \n", " MICHAEL \n", " He's pretty!\n", " \n", " CAMERON\n", " Okay! I wasn't sure\n", " \n", " Cameron goes back to the list.\n", " \n", " CAMERON\n", " (continuing)\n", " Okay -- Likes: Thai food, feminist \n", " prose, and \"angry, stinky girl music of \n", " the indie-rock persuasion\".\n", " \n", " PATRICK\n", " So what does that give me? I'm \n", " supposed to buy her some noodles and a \n", " book and sit around listening to chicks \n", " who can't play their instruments?\n", " \n", " MICHAEL\n", " Ever been to Club Skunk?\n", " \n", " PATRICK\n", " Yeah.\n", " \n", " CAMERON\n", " Gigglepuss is playing there tomorrow \n", " night.\n", " \n", " PATRICK \n", " Don't make me do it, man\n", " \n", " MICHAEL\n", " Assail your ears for one night.\n", " \n", " CAMERON\n", " It's her favorite band.\n", " \n", " Patrick groans\n", " \n", " MICHAEL\n", " I also retrieved a list of her most \n", " recent CD purchases, courtesy of \n", " American Express.\n", " \n", " He hands it over.\n", " \n", " PATRICK \n", " (smiling)\n", " Michael -- did you get this information \n", " \"illegally\"?\n", " \n", " Michael puts a finger to his lips.\n", " \n", " MICHAEL\n", " I prefer to think of it simply as an \n", " alternative to what the law allows.\n", " \n", " PATRICK \n", " I'm likin' you guys better\n", " \n", " He looks down at the list of CDs.\n", " \n", " PATRICK \n", " (continuing) \n", " This is really music?\n", " \n", " INT. KAT'S ROOM - NIGHT\n", " \n", " MUSIC BLARES in a room with minimalist decor splashed with \n", " indie rock band posters and flyers.\n", " \n", " Kat and Mandella dance as they dress and apply make-up \n", " Bianca enters, interrupting their fun.\n", " \n", " BIANCA\n", " Can you turn down the Screaming \n", " Menstrual Bitches? I'm trying to study.\n", " \n", " Kat doesn't move, so Bianca crosses to the stereo, turning \n", " down the volume.\n", " \n", " BIANCA\n", " (continuing)\n", " Don't tell me you're actually going \n", " out? On a school night, no less.\n", " \n", " Kat shoots her a glare\n", " \n", " BIANCA\n", " (continuing; \n", " excited)\n", " Oh my God, does this mean you're \n", " becoming normal?\n", " \n", " KAT\n", " It means that Gigglepuss is playing at \n", " Club Skunk and we're going.\n", " \n", " BIANCA\n", " (disappointed)\n", " Oh, I thought you might have a date\n", " (beat)\n", " I don't know why I'm bothering to ask, \n", " but are you going to Bogey Lowenstein's \n", " party Saturday night?\n", " \n", " KAT\n", " What do you think?\n", " \n", " BIANCA\n", " I think you're a freak. I think you do \n", " this to torture me. And I think you \n", " suck.\n", " \n", " She smiles sweetly and shuts the door behind her. Kat \n", " doesn't bat an eye. She grabs her purse and opens the door\n", " \n", " KAT \n", " Let's hit it.\n", " \n", " EXT. CLUB SKUNK - NIGHT\n", " \n", " A happy black and white neon skunk sprays fine mist on the \n", " line of kids below.\n", " \n", " INT. CLUB FOYER - NIGHT\n", " \n", " Kat and Mandella walk in, Mandella nervously pulling out her \n", " fake ID. The giant, afroed bouncer, BRUCE, looks typically \n", " mono-syllabic.\n", " \n", " MANDELLA \n", " (whispering to Kat) \n", " You think this'll work?\n", " \n", " KAT \n", " No fear.\n", " \n", " They approach Bruce. Kat puts on her happy, shiny face\n", " \n", " KAT \n", " (continuing)\n", " Hello! We'd like two for Gigglepuss!\n", " \n", " Bruce looks the girls up and down.\n", " \n", " BRUCE \n", " I can count.\n", " \n", " He looks at their IDs. Mandella gently moves Kat aside, \n", " wearing a face that could only be described as \"I AM a \n", " Victoria's Secret model.\"\n", " \n", " MANDELLA \n", " I'll bet you can..\n", " \n", " She sticks out her chest and licks her lips. Bruce stares \n", " at her deadpan and hands her back the IDs.\n", " \n", " BRUCE \n", " Go ahead.\n", " (to Mandella)\n", " And you\n", " \n", " MANDELLA \n", " (all come hither)\n", " Yes?\n", " \n", " BRUCE\n", " Take it easy on the guys in there.\n", " \n", " Mandella winks at him and sashays inside Kat: follows \n", " behind, shaking her head.\n", " \n", " EXT. CLUB SKUNK - NIGHT \n", " \n", " Patrick's mail truck clatters to a stop out front.\n", " \n", " INT. CLUB FOYER - NIGHT\n", " \n", " Patrick walks up to Bruce, who's frisking a badly mowhawked \n", " PIERCED EYEBROW BOY. Bruce pulls a SWITCHBLADE out of the \n", " boy's inside pocket.\n", " \n", " BRUCE\n", " Next time, leave the Bic at home, \n", " Skippy.\n", " \n", " SKIPPY\n", " It's a bottle opener.\n", " \n", " Bruce pushes him inside the club, then sees Patrick.\n", " \n", " BRUCE \n", " Verona, my man.\n", " \n", " They shake.\n", " \n", " PATRICK \n", " Always a pleasure, Brucie.\n", " \n", " BRUCE\n", " Didn't have you pegged for a Gigglepuss \n", " fan. Aren't they a little too pre-teen \n", " belly-button ring for you?\n", " \n", " PATRICK\n", " Fan of a fan. You see a couple of \n", " minors come in?\n", " \n", " BRUCE\n", " Never\n", " \n", " PATRICK\n", " Padua girls. One tall, decent body. \n", " The other one kinda short and \n", " undersexed?\n", " \n", " BRUCE \n", " Just sent 'em through.\n", " \n", " Patrick starts to go in\n", " \n", " BRUCE \n", " (continuing)\n", " Hey -- what happened to that chick you \n", " brought last time? The one with the \n", " snake?\n", " \n", " Patrick laughs and goes into the club\n", " \n", " INT. CLUB - NIGHT\n", " \n", " Onstage, the all-female band GIGGLEPUSS is parlaying their \n", " bad girl sass into a ripping punk number.\n", " \n", " Near the stage is a joyful mass of pogo-ing teens AT THE BAR\n", " \n", " Patrick bellies up and looks around the club. Gigglepuss \n", " finishes a song.\n", " \n", " LEAD SINGER\n", " Hello, out there. We're Gigglepuss and \n", " we're from Olympia.\n", " \n", " A teenage boy in the audience takes the opportunity to \n", " scream.\n", " \n", " BOY (0.S.)\n", " Pet my kitty!\n", " \n", " LEAD SINGER \n", " Meow\n", " \n", " They rev into their next song. \n", " \n", " NEAR THE STAGE \n", " \n", " Mandella and Kat glow with sweat. When they hear the \n", " opening chords of the song, they look at each other and \n", " scream with glee as they begin to dance. They couldn't be \n", " having a better time.\n", " \n", " AT THE BAR\n", " \n", " Patrick signals to get the bartender's attention and looks \n", " across the bouncing surge of the crowd. He spots Kat and \n", " Mandella singing along.\n", " \n", " HIS POV\n", " \n", " The gleeful Kat -- dancing and looking completely at ease. \n", " None of her usual \"attitude\". Patrick is transfixed. And \n", " most definitely attracted.\n", " \n", " NEAR THE STAGE Kat looks at Mandella.\n", " \n", " KAT \n", " (shouting)\n", " I need agua!\n", " \n", " She makes her way through the crowd to the bar. AT THE BAR\n", " \n", " She made it. She signals for the bartender and as she's \n", " waiting, looks around. She spots Patrick a few feet away\n", " \n", " KAT \n", " (continuing to \n", " herself) \n", " Shit\n", " \n", " She sneaks a glance. He's staring, but this time he looks \n", " away before she can. Despite herself, she's miffed.\n", " \n", " The bartender arrives\n", " \n", " BARTENDER \n", " (shouting) \n", " What can I get you?\n", " \n", " KAT \n", " Two waters.\n", " \n", " She looks at Patrick again. He's completely absorbed in the \n", " band. She scowls. The bottled water arrives and she \n", " marches off, forgetting to pay.\n", " \n", " She walks up to Patrick.\n", " \n", " KAT \n", " (continuing) \n", " You're not fooling anyone.\n", " \n", " Patrick looks at her, surprised\n", " \n", " PATRICK \n", " (yelling) \n", " hey. Great show, huh?\n", " \n", " KAT \n", " (yelling)\n", " \n", " If you're planning on asking me out you might as well get it \n", " over with.\n", " \n", " PATRICK \n", " (yelling) \n", " Excuse me?\n", " \n", " KAT \n", " (yelling)\n", " That's what you want, isn't it?\n", " \n", " PATRICK \n", " (yelling; gesturing \n", " toward the band)\n", " Do you mind? You're sort of ruining it \n", " for me.\n", " \n", " Kat steams. And watches him watch the band\n", " \n", " KAT \n", " (yelling)\n", " You're not surrounded by your usual \n", " cloud of smoke.\n", " \n", " The band takes a break, so they can stop yelling now\n", " \n", " PATRICK \n", " I know. I quit.\n", " \n", " He leans back, making no attempt to hit on her. She moves \n", " closer.\n", " \n", " KAT \n", " Oh, really?\n", " \n", " He motions toward the stage\n", " \n", " PATRICK\n", " You know, these guys are no Bikini Kill \n", " or The Raincoats, but they're right up \n", " there.\n", " \n", " KAT\n", " You know who The Raincoats are?\n", " \n", " PATRICK \n", " Why, don't you?\n", " \n", " She's completely taken aback. He uses the moment to his \n", " advantage and brushes her hair back as he speaks right into \n", " her ear.\n", " \n", " PATRICK \n", " (continuing)\n", " I watched you out there I've never \n", " seen you look like that\n", " \n", " Kat steps away, brushing the hair back that he just touched \n", " Her cheeks pinken.\n", " \n", " His cocky side is back in a flash\n", " \n", " PATRICK \n", " (continuing) \n", " Come to that party with me.\n", " \n", " At that moment, the band starts another SONG\n", " \n", " KAT \n", " (yelling) \n", " What?\n", " \n", " The bartender approaches.\n", " \n", " BARTENDER \n", " (to Kat, yelling) \n", " You forgot to pay!\n", " \n", " PATRICK \n", " (yelling) \n", " I got it, Rick.\n", " \n", " He tosses some bills on the bar\n", " \n", " Rather than thank him, Kat simply watches him, trying to \n", " figure out his motive.\n", " \n", " PATRICK \n", " (continuing; \n", " yelling) \n", " Nine-thirty then.\n", " \n", " A few people have gotten between them at the bar and she \n", " can't hear a word he's saying. She gives him one last look \n", " and heads back into the crowd.\n", " \n", " Patrick smiles. She didn't say no this time.\n", " \n", " EXT. CLUB SKUNK - NIGHT\n", " \n", " The crowd files out of the club, Kat and Mandella amongst \n", " them. A^ they're walking toward the parking lot, Patrick \n", " coasts by in his truck. The gears GRIND. He yells out the \n", " window.\n", " \n", " MANDELLA \n", " What'd he say?\n", " \n", " KAT \n", " Who cares?\n", " \n", " Mandella watches Kat as she stares after Patrick\n", " \n", " MANDELLA\n", " Has he importun'd you with love in \n", " honourable fashion?\n", " \n", " Kat glances sharply at her.\n", " \n", " MANDELLA \n", " (continuing; off \n", " her look)\n", " Don't be Cruella with me. I'm in favor \n", " of romance. You're the one that wants \n", " to march on Washington every five \n", " minutes.\n", " \n", " Kat pokes her, then looks back at the club dreamily.\n", " \n", " KAT \n", " Gigglepuss was so beyond.\n", " \n", " Mandella nods.\n", " \n", " MANDELLA\n", " They were. I only wish William could \n", " have been here to witness the rebirth of \n", " punk rock with us.\n", " \n", " Kat links her arm through Mandella's and they head for the \n", " car.\n", " \n", " KAT\n", " So true.\n", " \n", " INT. HALLWAY - DAY \n", " Cameron and Michael are at Michael's locker.\n", " \n", " CAMERON\n", " So, then she says that she almost \n", " didn't wear the Kenneth Coles with that \n", " dress because she thought she was \n", " mixing, you know, genres. And the fact \n", " that I noticed -- and I'm quoting here -\n", " \"really meant something.\"\n", " \n", " Cameron looks At Michael expectantly\n", " \n", " MICHAEL \n", " You told me that part already.\n", " \n", " CAMERON\n", " Hell, I've just been going over the \n", " whole thing in my head and -\n", " \n", " Joey appears over Cameron's shoulder. \n", " \n", " JOEY \n", " Hey. Dingo Boingo\n", " \n", " Cameron and Michael look at each other And turn around \n", " slowly\n", " \n", " JOEY \n", " (continuing; to \n", " Michael)\n", " I hear you're helpin' Verona.\n", " \n", " MICHAEL \n", " Uh, yeah. We're old friend*\n", " \n", " JOEY \n", " You and Verona?\n", " \n", " MICHAEL\n", " What? We took bathes together when we \n", " were kids.\n", " \n", " It's incredibly obvious that he's lying. Joey eyes him then \n", " turns to Cameron.\n", " \n", " JOEY\n", " What's your gig in all this?\n", " \n", " CAMERON\n", " I'm just the new guy.\n", " \n", " Joey turns back to Michael, grabbing the alligator on his \n", " shirt and twisting it.\n", " \n", " JOEY\n", " You better not fuck this up. I'm \n", " heavily invested.\n", " \n", " MICHAEL\n", " Hey -- it's all for the higher good \n", " right?\n", " \n", " Joey lets go of Michael and SHOVES Cameron against a locker \n", " for good measure, as he walks away-\n", " \n", " CAMERON\n", " Is it about me?\n", " \n", " EXT. MISS PERKY'S OFFICE - DAY\n", " \n", " Kat sits outside waiting for her appointment, bored and \n", " annoyed.\n", " \n", " The door opens and Miss Perky escorts Patrick out\n", " \n", " MISS PERKY\n", " You're completely demented.\n", " \n", " PATRICK\n", " (cheery)\n", " See you next week!\n", " \n", " Kat stands and Patrick sees her.\n", " \n", " Miss Perky watches in horror\n", " \n", " MISS PERKY\n", " You two know each other?\n", " \n", " PATRICK/KAT \n", " Yeah/No.\n", " \n", " Miss Perky grabs Kat and shoves her into her office.\n", " \n", " MISS PERKY \n", " (to Patrick)\n", " Dear God, stay away from her. If you \n", " two ever decided to breed, evil would \n", " truly walk the earth.\n", " \n", " Patrick gives Kat one last look before the door shuts, then \n", " smiles-\n", " \n", " EXT. STRATFORD HOUSE - NIGHT \n", " \n", " The lights are on, illuminating the yard\n", " \n", " INT. STRATFORD HOUSE/UPSTAIRS HALLWAY - NIGHT\n", " \n", " Bianca and Chastity stand outside Kat's room. MUSIC is \n", " blaring and the door is shut. Bianca looks at her watch\n", " \n", " BIANCA\n", " She's obviously not going.\n", " \n", " INT. LIVING ROOM - NIGHT\n", " \n", " Across the carpet, two pairs of teenage girl feet sneak \n", " past. Bianca and Chastity, teddy bear purses in hand.\n", " \n", " FROM THE KITCHEN A RUSTLING is heard. The girls freeze.\n", " \n", " Walter emerges from the kitchen with a mile-high sandwich \n", " The girls are like statues. Walter jumps.\n", " \n", " BIANCA\n", " Daddy, I --\n", " \n", " WALTER\n", " And where're you going?\n", " \n", " BIANCA\n", " If you must know, we were attempting to \n", " go to a small study group of friends.\n", " \n", " WALTER\n", " Otherwise known as an orgy?\n", " \n", " BIANCA\n", " It's just a party. Daddy, but I knew \n", " you'd forbid me to go since \"Gloria \n", " Steinem\" over there isn't going --\n", " \n", " She points to Kat -- Walkman blaring -- who comes \n", " downstairs, wearing a baby tee and battered Levis. Her \n", " relaxing-at-home look is about 400 times sexier than her at-\n", " school look. She wanders toward the kitchen.\n", " \n", " Walter directs his attention toward Kat.\n", " \n", " WALTER\n", " Do you know about any party? Katarina?\n", " \n", " Kat shrugs as she comes back out of the kitchen with an \n", " apple\n", " \n", " BIANCA\n", " Daddy, people expect me to be there!\n", " \n", " WALTER\n", " If Kat's not going, you're not going.\n", " \n", " Bianca turns to Kat, eyes ablaze\n", " \n", " BIANCA\n", " You're ruining my life' Because you \n", " won't be normal, I can't be normal.\n", " \n", " KAT \n", " What's normal?\n", " \n", " BIANCA\n", " Bogey Lowenstein's party is normal, but \n", " you're too busy listening to Bitches Who \n", " Need Prozac to know that.\n", " \n", " WALTER\n", " What's a Bogey Lowenstein?\n", " \n", " Kat takes off her earphones, ready to do battle\n", " \n", " BIANCA\n", " Can't you forget for just one night \n", " that you're completely wretched?\n", " \n", " KAT\n", " At least I'm not a clouted fen- sucked \n", " hedge-pig.\n", " \n", " Bianca tosses her hair.\n", " \n", " BIANCA\n", " Like I'm supposed to know what that \n", " even means.\n", " \n", " KAT\n", " It's Shakespeare. Maybe you've heard \n", " of him?\n", " \n", " BIANCA\n", " Yeah, he's your freak friend Mandella's \n", " boyfriend. I guess since I'm not \n", " allowed to go out, I should obsess over \n", " a dead guy, too.\n", " \n", " WALTER\n", " Girls\n", " \n", " Kat stares Bianca down\n", " \n", " KAT\n", " I know about the goddamn party. I'm \n", " going.\n", " \n", " Bianca and Chastity look at each other, thrilled, and burst \n", " into gleeful screams.\n", " \n", " A startled Walter clutches Bianca in a protective hug.\n", " \n", " WALTER\n", " Oh, God. It's starting.\n", " \n", " BIANCA\n", " It's just a party. Daddy.\n", " \n", " Walter looks dazed.\n", " \n", " WALTER\n", " Wear the belly before you go.\n", " \n", " BIANCA\n", " Daddy, no!\n", " \n", " WALTER\n", " Just for a minute\n", " \n", " He rushes to a cupboard and pulls out a padded faux-\n", " pregnancy belly.\n", " \n", " WALTER\n", " (continuing)\n", " I want you to realize the weight of \n", " your decisions.\n", " \n", " He hangs the belly on her as she stands mortified.\n", " \n", " BIANCA\n", " You are so completely unbalanced.\n", " \n", " KAT \n", " Can we go now?\n", "\n", " Scanned by http://freemoviescripts.com\n", " Formatting by http://simplyscripts.home.att.net\n", "\n", " \n", " WALTER\n", " (to Bianca)\n", " Promise me you won't talk to any boys \n", " unless your sister is present.\n", " \n", " BIANCA\n", " Why?\n", " \n", " WALTER\n", " Because she'll scare them away.\n", " \n", " Kat stomps to the door, grabbing her car keys off the hall \n", " table and a sweater from the coat rack. She flings open the \n", " door and...\n", " \n", " There stands Patrick.\n", " \n", " PATRICK \n", " Nine-thirty right?\n", " \n", " Kat's in shock\n", " \n", " PATRICK \n", " (continuing)\n", " I'm early.\n", " \n", " She holds up her keys\n", " \n", " KAT \n", " I'm driving.\n", " \n", " He peeks in behind her.\n", " \n", " PATRICK \n", " Who knocked up your sister?\n", " \n", " INT. BOGEY LOWENSTEIN'S HOUSE - NIGHT\n", " \n", " BOGEY, a short Future MBA in a tux, greets his guests like a \n", " pro, handing out cigars and martinis.\n", " \n", " BOGEY\n", " Nice to see you. Martini bar to the \n", " right, shots in the kitchen.\n", " \n", " The house is filled to capacity with Padua High's finest Kat \n", " pushes through the crowd. Patrick saunters in behind her\n", " \n", " INT. BOGEY'S KITCHEN - NIGHT\n", " \n", " Joey lines up a row of shots amid much whooping and \n", " hollering within the jock crowd.\n", " \n", " Kat enters, then quickly tries to make an about face. Joey \n", " sees her and rushes over to block her, standing in the \n", " doorway.\n", " \n", " JOEY\n", " Lookin' fresh tonight, Pussy-Kat\n", " \n", " Kat gives him a death look and then stops and points at his \n", " forehead.\n", " \n", " KAT\n", " Wait -- was that?-- Did your hairline \n", " just recede?\n", " \n", " He panics, whipping out a handy pocket mirror She's \n", " already walking away.\n", " \n", " JOEY \n", " Where ya goin?\n", " \n", " KAT\n", " Away.\n", " \n", " JOEY \n", " Your sister here?\n", " \n", " Kat's face shows utter hatred\n", " \n", " KAT \n", " Leave my sister alone.\n", " \n", " JOEY \n", " (smirking) \n", " And why would I do that?\n", " \n", " A RUCKUS sounds from the next room\n", " \n", " JOCK \n", " A fight!\n", " \n", " The other jocks rush to watch as two Coffee Kids splash \n", " their cupfuls on each other.\n", " \n", " COFFEE KID #1\n", " That was a New Guinea Peaberry, you \n", " Folger's-crystals-slurping-buttwipe.\n", " \n", " Caffeinated fists fly. Joey slithers away from the door to \n", " watch, giving Kat one last smirk, just as Bianca walks into \n", " the kitchen.\n", " \n", " JOEY \n", " Just who I was looking for.\n", " \n", " He puts his arm around Bianca and escorts her out\n", " \n", " KAT \n", " BIANCA\n", " \n", " Bianca keeps walking, ignoring Kat\n", " \n", " A GUY pouring shots hands Kat one She downs it and accepts \n", " another.\n", " \n", " GUY\n", " Drink up, sister.\n", " \n", " Patrick walks up\n", " \n", " PATRICK\n", " What's this?\n", " \n", " KAT \n", " (mocking)\n", " \"I'm getting trashed, man.\" Isn't that \n", " what you're supposed to do at a party?\n", " \n", " PATRICK\n", " I say, do what you wanna do.\n", " \n", " KAT\n", " Funny, you're the only one\n", " \n", " She downs another.\n", " \n", " INT. BOGEY'S LIVING ROOM - NIGHT\n", " \n", " Cameron and Michael enter. Cameron looks, around for his \n", " beloved, while Michael schmoozee with all in attendance and \n", " dishes dirt simultaneously.\n", " \n", " MICHAEL \n", " (high-fiving a \n", " jock)\n", " Moose, my man! \n", " (to Cameron)\n", " Ranked fifth in the state. Recruiters \n", " have already started calling.\n", " \n", " Cameron nods intently\n", " \n", " MICHAEL \n", " (continuing; \n", " grabbing his belt)\n", " Yo, Clem. \n", " (to Cameron)\n", " A Patsy Cline fan, but hates the new \n", " Leanne Rimes. \n", " (with a Jamaican \n", " swagger)\n", " Ziggy, peace, bra. \n", " (to Cameron)\n", " Prefers a water pipe, but has been \n", " known to use a bong.\n", " \n", " Michael spots Bianca and Chastity, watching the skirmish, \n", " and points Cameron's body in her direction.\n", " \n", " MICHAEL \n", " (continuing)\n", " Follow the love, man\n", " \n", " ON BIANCA AND CHASTITY Bianca cranes her neck\n", " \n", " BIANCA\n", " Where did he go? He was just here.\n", " \n", " CHASTITY \n", " Who?\n", " \n", " BIANCA\n", " Joey.\n", " \n", " Cameron walks over.\n", " \n", " CAMERON\n", " Evening, ladies.\n", " \n", " Bianca turns and graces him with a pained smile.\n", " \n", " BIANCA\n", " Hi.\n", " \n", " CAMERON\n", " Looks like things worked out tonight, \n", " huh?\n", " \n", " Bianca ignores the question and tries to pawn him off\n", " \n", " BIANCA\n", " You know Chastity?\n", " \n", " CAMERON\n", " I believe we share an art instructor\n", " \n", " CHASTITY \n", " Great\n", " \n", " BIANCA\n", " Would you mind getting me a drink, \n", " Cameron?\n", " \n", " CAMERON\n", " Certainly\n", " Pabst? Old Milwaukee? RaiJieer?\n", " \n", " Bianca gives him a tense smile.\n", " \n", " BIANCA\n", " Surprise me.\n", " \n", " He heads for the kitchen. Joey walks up and grabs her \n", " around the waist.\n", " \n", " She giggles as he picks her up and carries her off -- just \n", " as Cameron returns, a beer -- complete with a napkin and \n", " straw -- in his hand.\n", " \n", " Chastity glares with a jealous fury after Bianca and Joey, \n", " then gives Cameron the once-over and walks away.\n", " \n", " Michael appears.\n", " \n", " MICHAEL\n", " Extremely unfortunate maneuver.\n", " \n", " CAMERON\n", " The hell is that? What kind of 'guy \n", " just picks up a girl and carries her \n", " away while you're talking to her?\n", " \n", " MICHAEL\n", " Buttholus extremus. But hey, you're \n", " making progress.\n", " \n", " CAMERON\n", " No, I ' m not.\n", " \n", " He smacks himself in the head\n", " \n", " CAMERON\n", " (continuing)\n", " She used me! She wants to go out with \n", " Dorsey. Not me. I'm an idiot!\n", " \n", " Michael pats him on the shoulder.\n", " \n", " MICHAEL \n", " At least you're self-aware\n", " \n", " BOGEY'S KITCHEN - NIGHT\n", " \n", " Kat and a crowd of White Rastas and Cowboys stand in a \n", " drunken group hug singing \"I Shot the Sheriff\". Kat has \n", " another shot glass in hand.\n", " \n", " Patrick is showing a scar to an inebriated, enraptured \n", " cheerleader. He looks up at Kat and smiles meets his eyes \n", " then looks away.\n", " \n", " INT. BOGEY'S LIVING ROOM - NIGHT \n", " \n", " Bianca stands next to Joey, sipping from her beer\n", " \n", " JOEY\n", " So yeah, I've got the Sears catalog \n", " thing going -- and the tube sock gig \" \n", " that's gonna be huge. And then I'm up \n", " for an ad for Queen Harry next week.\n", " \n", " BIANCA\n", " Queen Harry?\n", " \n", " JOEY\n", " It's a gay cruise line, but I'll be, \n", " like, wearing a uniform and stuff.\n", " \n", " Bianca tries to appear impressed, but it's getting \n", " difficult.\n", " \n", " BIANCA\n", " Neat...\n", " \n", " JOEY\n", " My agent says I've got a good shot at \n", " being the Prada guy next year.\n", " \n", " He looks over her shoulder and waves at someone. Bianca \n", " takes the opportunity to escape.\n", " \n", " BIANCA\n", " I'll be right back.\n", " \n", " INT. BOGEY'S BATHROOM - NIGHT\n", " \n", " Bianca shuts the door and leans on it with a sigh. Chastity \n", " applies lip-gloss in the mirror.\n", " \n", " BIANCA\n", " He practically proposed when he found \n", " out we had the same dermatologist. I \n", " mean. Dr. Bonchowski is great an all, \n", " but he's not exactly relevant party \n", " conversation.\n", " \n", " CHASTITY \n", " Is he oily or dry?\n", " \n", " BIANCA\n", " Combination. I don't know -- I thought \n", " he'd be different. More of a \n", " gentleman...\n", " \n", " Chastity rolls her eyes\n", " \n", " CHASTITY \n", " Bianca, I don't think the highlights of \n", " dating Joey Dorsey are going to include \n", " door-opening and coat-holding.\n", " \n", " BIANCA\n", " Sometimes I wonder if the guys we're \n", " supposed to want to go out with are the \n", " ones we actually want to go out with, \n", " you know?\n", " \n", " CHASTITY \n", " All I know is -- I'd give up my private \n", " line to go out with a guy like Joey.\n", " \n", " There's a KNOCK at the door. Bianca opens it to find a very \n", " drunken Kat.\n", " \n", " KAT\n", " Bianca, I need to talk to you -- I need \n", " to tell you --\n", " \n", " BIANCA\n", " (cutting her off)\n", " I really don't think I need any social \n", " advice from you right now.\n", " \n", " Bianca grabs Chastity's arm and they exit\n", " \n", " INT. BOGEY'S KITCHEN - NIGHT - LATER \n", " \n", " Patrick tries to remove a shot glass from Kat's hand.\n", " \n", " PATRICK\n", " \n", " Maybe you should let me have it.\n", " \n", " Kat is fierce in her refusal to let go\n", " \n", " KAT\n", " I want another one\n", " \n", " Joey enters, grabbing Patrick by the shoulder, distracting \n", " him from his task.\n", " \n", " JOEY\n", " My man\n", " \n", " As Patrick turns, Kat breaks free and dives into the sea of \n", " dancing people in the dining room.\n", " \n", " PATRICK \n", " (annoyed)\n", " It's about time.\n", " \n", " JOEY \n", " A deal's a deal.\n", " \n", " He peels off some bills\n", " \n", " JOEY \n", " (continuing)\n", " How'd you do it?\n", " \n", " PATRICK\n", " Do what?\n", " \n", " JOEY\n", " Get her to act like a human\n", " \n", " A very drunken Kat jumps up onto the kitchen island and \n", " starts dancing by herself. She lets loose, hair flying. \n", " She's almost burlesque.\n", " \n", " Others form a crowd, clapping and cheering her on\n", " \n", " She swings her head around BANGING it on a copper pot \n", " hanging from the rack above the center island. She starts \n", " to sway, then goes down as Patrick rushes over to catch her.\n", " \n", " The others CLAP, thinking this is a wonderful finale. \n", " Patrick sets her down on her feet, holding her up\n", " \n", " PATRICK\n", " Okay?\n", " \n", " KAT\n", " I'm fine. I'm\n", " \n", " She tries to push him away, but staggers when she does grabs \n", " her again, bracing her.\n", " \n", " PATRICK\n", " You're not okay.\n", " \n", " KAT\n", " I just need to lie down for awhile\n", " \n", " PATRICK\n", " Uh, uh. You lie down and you'll go to \n", " sleep\n", " \n", " KAT\n", " I know, just let me sleep\n", " \n", " PATRICK\n", " What if you have a concussion? My dog \n", " went to sleep with a concussion and woke \n", " up a vegetable. Not that I could tell \n", " the difference...\n", " \n", " She tries to sit on the floor\n", " \n", " KAT\n", " Okay, I'll just sleep but stay awake, \n", " okay?\n", " \n", " He pulls her back to her\n", " \n", " PATRICK\n", " C'mon, let's walk\n", " \n", " INT. BOGEY'S DINING ROOM - NIGHT\n", " \n", " As Patrick walks Kat through the dining room, Cameron grabs \n", " his arm.\n", " \n", " CAMERON We need to talk.\n", " \n", " PATRICK\n", " Cameron, I'm a little busy\n", " \n", " CAMERON\n", " It's off. The whole thing.\n", " \n", " Kat slides down to the floor and Patrick struggles to get h \n", " back on her feet.\n", " \n", " PATRICK\n", " What 're you talking about?\n", " \n", " CAMERON\n", " She's partial to Joey, not me\n", " \n", " Patrick doesn't have time for this.\n", " \n", " PATRICK\n", " Cameron -- do you like the girl?\n", " \n", " CAMERON\n", " Sure\n", " \n", " PATRICK \n", " (impatient)\n", " Then, go get her\n", " \n", " Patrick continues walking an oblivious Kat outside. Cameron \n", " stands there, unsure how to make use of this advice\n", " \n", " EXT. BOGEY LOWENSTEIN'S HOUSE - NIGHT \n", " \n", " Patrick marches Kat around the yard, holding her up\n", " \n", " KAT\n", " This is so patronizing.\n", " \n", " PATRICK\n", " Leave it to you to use big words when \n", " you're shitfaced.\n", " \n", " KAT\n", " Why 're you doing this?\n", " \n", " PATRICK\n", " I told you\n", " \n", " KAT\n", " You don't care if I die\n", " \n", " PATRICK\n", " Sure, I do\n", " \n", " KAT\n", " Why?\n", " \n", " PATRICK\n", " Because then I'd have to start taking \n", " out girls who like me.\n", " \n", " KAT\n", " Like you could find one\n", " \n", " PATRICK\n", " See that? Who needs affection when \n", " I've got blind hatred?\n", " \n", " KAT\n", " Just let me sit down.\n", " \n", " He walks her over to the swingset and plops her down in a \n", " swing, moving her hands to hang onto the chains.\n", " \n", " PATRICK\n", " How's that?\n", " \n", " She sits and looks at him for a moment with a smile. Then \n", " FALLS over backward.\n", " \n", " PATRICK \n", " (continuing)\n", " Jesus. You're like a weeble\n", " \n", " Patrick rushes to right her, then starts pushing her on the \n", " swing to keep her entertained.\n", " \n", " PATRICK \n", " (continuing)\n", " Why'd you let him get to you?\n", " \n", " KAT\n", " Who? \n", " \n", " PATRICK\n", " Dorsey.\n", " \n", " KAT\n", " I hate him.\n", " \n", " PATRICK\n", " I know. It'd have to be a pretty big \n", " deal to get you to mainline tequila. You \n", " don't seem like the type.\n", " \n", " KAT\n", " (holding up a \n", " drunken head)\n", " Hey man. . . You don ' t think I can \n", " be \"cool\"? You don't think I can be \n", " \"laid back\" like everyone else?\n", " \n", " PATRICK \n", " (slightly \n", " sarcastic)\n", " I thought you were above all that\n", " \n", " KAT\n", " You know what they say\n", " \n", " He stops the swing\n", " \n", " PATRICK\n", " No. What do they say?\n", " \n", " Kat is asleep, her head resting against the swing's chains.\n", " \n", " PATRICK \n", " (continuing)\n", " Shit!\n", " \n", " He drags her to her feet and starts singing loudly.\n", " \n", " PATRICK \n", " (continuing)\n", " Jingle Bells! Jingle Belles! Wake up \n", " damn it!\n", " \n", " He sits her down on the slide and shakes her like a rag \n", " doll.\n", " \n", " PATRICK \n", " (continuing)\n", " Kat! Wake up! \n", " \n", " KAT\n", " (waking)\n", " What?\n", " \n", " He sighs with relief.\n", " \n", " PATRICK\n", " I thought you were...\n", " \n", " They share some meaningful eye contact. And then she PUKES \n", " on his shoes.\n", " \n", " INT. BOGEY'S BATHROOM - NIGHT\n", " \n", " Kat washes her face and grabs a bottle of Scope, taking a \n", " big swig.\n", " \n", " A KNOCK sounds at the door\n", " \n", " KAT\n", " Go away\n", " \n", " Bianca opens the door and looks at her sister with the \n", " smuggest of all possible grins.\n", " \n", " BIANCA\n", " Dinner taste better on the way out?\n", " \n", " Gives her a \"don't even start\" look.\n", " \n", " BIANCA\n", " (continuing)\n", " I don't get you. You act like you're \n", " too good for any of this, and then you \n", " go totally apeshit when you get here.\n", " \n", " KAT\n", " You're welcome.\n", " \n", " She pushes past her and leaves the bathroom.\n", " \n", " KAT'S CAR - NIGHT\n", " \n", " Kat's in the driver's seat. Patrick leans in and takes the \n", " keys out of the ignition.\n", " \n", " PATRICK\n", " Cute\n", " \n", " BOGEY LOWENSTEIN'S HOUSE - NIGHT\n", " \n", " Kids loiter on the lawn. Bianca and Chastity walk outside \n", " Joey catches up to them.\n", " \n", " JOEY\n", " A bunch of us are going to Jaret's \n", " house. Wanna come?\n", " \n", " Chastity looks at Bianca, who wears a pained expression. \n", " She looks at her watch.\n", " \n", " BIANCA\n", " I have to be home in twenty minutes.\n", " \n", " CHASTITY \n", " (eagerly, to Joey)\n", " I don't have to be home 'til two.\n", " \n", " JOEY \n", " Then, c'mon.\n", " (to Bianca)\n", " Maybe next time --\n", " \n", " They head back into the party, leaving an astonished Bianca\n", " \n", " Cameron exits the party and stops when he sees Bianca \n", " standing alone.\n", " \n", " CAMERON\n", " (slightly \n", " accusatory)\n", " Have fun tonight?\n", " \n", " BIANCA\n", " Tons\n", " \n", " He starts to walk on\n", " \n", " BIANCA\n", " (continuing)\n", " Cameron?\n", " \n", " He stops. She gives him a helpless smile.\n", " \n", " BIANCA\n", " (continuing)\n", " Do you think you could give me a ride \n", " home?\n", " \n", " INT. KAT'S CAR - NIGHT\n", " \n", " Patrick drives as Kat sits in the passenger seat, fiddling \n", " with the radio dial. She finds a SONG she's happy with and \n", " Patrick quickly changes it.\n", " \n", " PATRICK\n", " I'm driving, so I get to pick the \n", " tunes.\n", " \n", " She changes it back to her song.\n", " \n", " KAT\n", " It's my car.\n", " \n", " He changes it back.\n", " \n", " PATRICK\n", " And I'm in control of it.\n", " \n", " KAT\n", " But it's Gigglepuss - I know you like \n", " them. I saw you there.\n", " \n", " Patrick doesn't have an answer for this, so he let's her \n", " listen to her song.\n", " \n", " KAT \n", " (continuing)\n", " When you were gone last year -- where \n", " were you?\n", " \n", " PATRICK\n", " Busy\n", " \n", " KAT\n", " Were you in jail?\n", " \n", " PATRICK\n", " Maybe.\n", " \n", " KAT\n", " No, you weren't\n", " \n", " PATRICK\n", " Then why'd you ask?\n", " \n", " KAT\n", " Why'd you lie?\n", " \n", " He doesn't answer, but instead, frowns and turns up the \n", " music. She bobs her head drunkenly.\n", " \n", " KAT \n", " (continuing)\n", " I should do this.\n", " \n", " PATRICK\n", " Do what?\n", " \n", " KAT\n", " This.\n", " \n", " She points to the radio\n", " \n", " PATRICK\n", " Start a band?\n", " \n", " KAT \n", " (sarcastically)\n", " My father wouldn't approve of that that\n", " \n", " PATRICK\n", " You don't strike me as the type that \n", " would ask permission.\n", " \n", " She turns to look at him.\n", " \n", " KAT\n", " Oh, so now you think you know me?\n", " \n", " PATRICK\n", " I'm gettin' there\n", " \n", " Her voice loses it's venom\n", " \n", " KAT\n", " The only thing people know about me is \n", " that I'm \"scary\".\n", " \n", " He turns to look at her -- she looks anything but scary \n", " right now. He tries to hide his smile.\n", " \n", " PATRICK\n", " \n", " Yeah -- well, I'm no picnic myself.\n", " \n", " They eye each other, sharing a moment of connection, \n", " realizing they're both created the same exterior for \n", " themselves.\n", " \n", " Patrick pulls into her driveway and shuts off the motor. He \n", " looks up at her house.\n", " \n", " PATRICK \n", " (continuing)\n", " So what ' s up with your dad? He a \n", " pain in the ass?\n", " \n", " KAT\n", " He just wants me to be someone I'm not.\n", " \n", " PATRICK\n", " Who?\n", " \n", " KAT\n", " BIANCA\n", " \n", " PATRICK\n", " No offense, but you're sister is \n", " without. I know everyone likes her and \n", " all, but ...\n", " \n", " Kat stares at him with new admiration.\n", " \n", " KAT\n", " You know -- you're not as vile as I \n", " thought you were.\n", " \n", " She leans drunkenly toward him.\n", " \n", " Their faces grow closer as if they're about to kiss And then \n", " Patrick turns away\n", " \n", " PATRICK\n", " So, I'll see you in school\n", " \n", " Kat stares at him, pissed. Then gets out of the car, \n", " SLAMMING the door shut behind her.\n", " \n", " CAMERON'S CAR - NIGHT\n", " \n", " Bianca and Cameron ride in silence.\n", " He finally breaks it.\n", " \n", " CAMERON\n", " I looked for you back at the party, but \n", " you always seemed to be \"occupied\".\n", " \n", " BIANCA\n", " (faux-innocence )\n", " I was?\n", " \n", " CAMERON\n", " You never wanted to go out with 'me, \n", " did you?\n", " \n", " Bianca bites her lip.\n", " \n", " BIANCA\n", " (reluctant)\n", " Well, no...\n", " \n", " CAMERON\n", " Then that's all you had to say.\n", " \n", " BIANCA\n", " But\n", " \n", " CAMERON\n", " You always been this selfish?\n", " \n", " BIANCA thinks a minute\n", " \n", " He pulls up in front of the house\n", " \n", " CAMERON\n", " Just because you're beautiful, doesn't \n", " mean you can treat people like they \n", " don't matter.\n", " \n", " She looks at him for a moment -- then grabs his face and \n", " gives him a kiss on the lips. He draws back in surprise, \n", " then kisses her back. She smiles, then gets out of the car \n", " without another word.\n", " \n", " Cameron grins and drives away\n", " \n", " CAMERON\n", " (continuing)\n", " And I'm back in the saddle.\n", " \n", " INT. ENGLISH CLASS - DAY\n", " \n", " Kat sits at her desk, burying her face in a book as the \n", " others enter. The White Rastas are first.\n", " \n", " DEREK\n", " Kat, my lady, you sway to the rhythm of \n", " my heart.\n", " \n", " He grabs her hand and kisses it as she pulls it away.\n", " \n", " CLEM, a cowboy, enters, high-fiving Derek with new-found \n", " friendliness.\n", " \n", " CLEM\n", " Yippe kai-aye, bra. \n", " (to Kat)\n", " Dance for me, cowgirl.\n", " \n", " He sits next to Derek\n", " \n", " CLEM \n", " (continuing)\n", " Okay, now tell me again why he didn't \n", " shoot the deputy?\n", " \n", " DEREK\n", " Because the deputy meant him no harm, \n", " my friend. It was only the sheriff that \n", " was the oppressor.\n", " \n", " Joey saunters in and takes his seat.\n", " \n", " JOEY\n", " Kat, babe, you were on fire.\n", " \n", " Mrs. Blaise enters and sits at her desk\n", " \n", " MRS. BLAISE\n", " Well now, did everyone have a good \n", " weekend?\n", " \n", " JOEY \n", " Maybe we should ask Verona\n", " \n", " Patrick enters, late, and slinks to his desk. Kat looks up, \n", " down and around, everywhere but at Patrick.\n", " \n", " Mrs. Blaise tries to remember what she's supposed to talk \n", " about.\n", " \n", " MRS. BLAISE \n", " Okay then. Well.\n", " (beat)\n", " Oh, yes\n", " \n", " She clears her throat.\n", " \n", " MRS. BLAISE \n", " (continuing)\n", " I'd like you all to write your own \n", " version of Shakespeare's Sonnet #141.\n", " \n", " Groans.\n", " \n", " MRS. BLAISE \n", " (continuing)\n", " Any form you'd like. Rhyme, no rhyme, \n", " whatever. I'd like to see you elaborate \n", " on his theme, however. Let's read it \n", " aloud, shall we? Anyone?\n", " \n", " The class is frozen in apathy.\n", " \n", " MRS. BLAISE \n", " (continuing)\n", " Derek?\n", " \n", " Ms. Blaise hands him the sonnet. He shifts uncomfortably in \n", " his seat. Then grins.\n", " \n", " DEREK \n", " (reading; in his \n", " Rasta stoner drawl)\n", " In faith, I do not love thee with mine \n", " eyes/ For they in thee a thousand errors \n", " note/ But 'tis my heart that loves what \n", " they despise/ Who in despite of view is \n", " pleas 'd to dote.\n", " \n", " In the back of the room Clem raises his hand\n", " \n", " CLEM\n", " Ms. Blaise, can I get the bathroom \n", " pass? Damn if Shakespeare don't act as \n", " a laxative on my person.\n", " \n", " INT. KENNY'S THAI FOOD DINER - DAY \n", " Kat and Mandella scrape the peanuts out of their sauce.\n", " \n", " MANDELLA\n", " You went to the party? I thought we \n", " were officially opposed to suburban \n", " social activity.\n", " \n", " KAT\n", " I didn't have a choice.\n", " \n", " MANDELLA\n", " You didn't have a choice? Where's Kat \n", " and what have you done with her?\n", " \n", " KAT\n", " I did Bianca a favor and it backfired.\n", " \n", " MANDELLA \n", " You didn't\n", " \n", " KAT\n", " I got drunk. I puked. I got rejected. \n", " It was big fun.\n", " \n", " Patrick enters, walking to the counter to order. He sees Kat \n", " and smiles.\n", " \n", " PATRICK\n", " Hey\n", " \n", " She gathers her things and bolts out the door. Patrick \n", " looks at Mandella, who shrugs and follows Kat.\n", " \n", " INT. BIOLOGY CLASS - DAY Cameron and Michael flank Patrick \n", " at his lab table\n", " \n", " MICHAEL\n", " So you got cozy with she who stings?\n", " \n", " PATRICK\n", " No - I've got a sweet-payin' job that \n", " I'm about to lose.\n", " \n", " CAMERON\n", " What'd you do to her?\n", " \n", " PATRICK\n", " I don ' t know. \n", " (beat)\n", " I decided not to nail her when she was \n", " too drunk to remember it.\n", " \n", " Michael and Cameron look at each other in realization, then \n", " turn back to Patrick.\n", " \n", " CAMERON\n", " \n", " You realize this puts the whole operation in peril.\n", " \n", " PATRICK\n", " \n", " No shit. She won't even look at me\n", " \n", " CAMERON\n", " \n", " Why can't you just tell her you're sorry?\n", " \n", " Patrick's expression says that this is not a possibility. \n", " Michael makes a time out sign with his hands.\n", " \n", " MICHAEL\n", " I'm on it\n", " \n", " INT. HALLWAY - DAY\n", " \n", " Mandella is at her locker. Drawings of William Shakespeare \n", " adorn the door. She looks at them with a sigh, then ties \n", " her silk scarf tightly around her neck, in an attempt to cut \n", " off her air supply.\n", " \n", " Michael walks up.\n", " \n", " MICHAEL\n", " Hey there. Tired of breathing?\n", " \n", " MANDELLA \n", " (shyly, as she \n", " loosens the scarf)\n", " Hi.\n", " \n", " MICHAEL \n", " Cool pictures. You a fan?\n", " \n", " MANDELLA\n", " Yeah. I guess.\n", " \n", " MICHAEL rocks. Very hip.\n", " \n", " MANDELLA\n", " You think?\n", " \n", " MICHAEL \n", " Oh yeah.\n", " \n", " She looks at him suspiciously\n", " \n", " MANDELLA\n", " Who could refrain that had a heart to \n", " love and in that heart, courage to make \n", " ' B love known?\n", " \n", " Michael thinks for a minute.\n", " \n", " MICHAEL \n", " Macbeth, right?\n", " \n", " MANDELLA \n", " (happily stunned)\n", " Right.\n", " \n", " MICHAEL \n", " Kat a fan, too?\n", " \n", " MANDELLA \n", " (puzzled)\n", " Yeah...\n", " \n", " He leans in close to her, conspiratorially\n", " \n", " MICHAEL\n", " So, listen... I have this friend\n", " \n", " EXT. FIELD HOCKEY FIELD - DAY\n", " \n", " Cameron sits next to Patrick on the bleachers as they watch \n", " Kat's practice.\n", " \n", " CAMERON\n", " She hates you with the fire of a \n", " thousand suns . That's a direct quote\n", " \n", " PATRICK\n", " She just needs time to cool off I'll \n", " give it a day.\n", " \n", " A PUCK flies at them from the field, narrowly missing their \n", " heads.\n", " \n", " PATRICK \n", " (continuing)\n", " Maybe two.\n", " \n", " He looks at Cameron.\n", " \n", " PATRICK \n", " (continuing)\n", " You makin' any headway?\n", " \n", " CAMERON\n", " She kissed me.\n", " \n", " PATRICK \n", " (eyebrow raised)\n", " Where?\n", " \n", " INT. HALLWAY - DAY\n", " \n", " Chastity rounds the corner and bends down to get a drink \n", " from the water fountain.\n", " \n", " NEARBY\n", " \n", " Joey stands talking to two JOCK COHORTS. The guys don't see \n", " her.\n", " \n", " JOEY\n", " Don't talk to me about the sweetest \n", " date. That little halo Bianca is gonna \n", " be prone and proven on prom night. Six \n", " virgins in a row.\n", " \n", " The cohorts chortle Chastity keeps drinking from the \n", " fountain\n", " \n", " EXT. PARKING LOT - DAY \n", " \n", " Joey leans against Patrick's Jeep. Patrick is inside.\n", " \n", " PATRICK\n", " I don't know, Dorsey. ..the limo.-the \n", " flowers. Another hundred for the tux --\n", " \n", " JOEY\n", " Enough with the Barbie n' Ken shit. I \n", " know.\n", " \n", " He pulls out his wallet and hands Patrick a wad of money\n", " \n", " JOEY \n", " (continuing)\n", " Take it\n", " \n", " Patrick does, with a smile, as he ROARS out of the parking \n", " lot.\n", " \n", " INT. SCHOOL COURTYARD - DAY \n", " \n", " Kat and Mandella deface a prom flyer.\n", " \n", " KAT\n", " Can you even imagine? Who the hell \n", " would go to this a bastion of commercial \n", " excess?\n", " \n", " MANDELLA\n", " Well, I guess we're not, since we don't \n", " have dates .\n", " \n", " KAT\n", " Listen to you! You sound like Betty, \n", " all pissed off because Archie is taking \n", " Veronica.\n", " \n", " MANDELLA \n", " Okay, okay, we won't go. It's not like \n", " I have a dress anyway\n", " \n", " KAT\n", " You ' re looking at this from the wrong \n", " perspective. We're making a statement.\n", " \n", " MANDELLA \n", " (unconvinced)\n", " Oh, good. Something new and different \n", " for us.\n", " \n", " EXT. ARCHERY FIELD - DAY \n", " \n", " Mr. Chapin patrols as boys and girls shoot arrows at targets\n", " \n", " Joey swaggers up to Bianca, who is taking careful aim. \n", " Chastity watches from across the row.\n", " \n", " JOEY \n", " Hey, sweet cheeks.\n", " \n", " BIANCA\n", " (not looking at \n", " him)\n", " Hi, Joey.\n", " \n", " JOEY\n", " You're concentrating awfully hard \n", " considering it's gym class.\n", " \n", " She lets the arrow go and turns to look at him.\n", " \n", " JOEY \n", " (continuing)\n", " Listen, I want to talk to you about the \n", " prom.\n", " \n", " BIANCA\n", " You know the deal. I can ' t go if Kat \n", " doesn't go --\n", " \n", " In the background, a RASTA crumples to the ground. Hit\n", " A casualty of Gym. Mr. Chapin scurries over.\n", " \n", " JOEY\n", " Your sister is going.\n", " \n", " Bianca looks at him, surprised\n", " \n", " BIANCA\n", " Since when?\n", " \n", " Joey takes the bow and arrow from Bianca's hand. He draws \n", " back and takes aim.\n", " \n", " JOEY \n", " I'm taking care of it.\n", " \n", " Chastity looks over from her spot on the field, but keeps \n", " lips firmly shut.\n", " \n", " INT. BOOK STORE - DAY\n", " \n", " Kat browses through the feminist lit section\n", " Patrick appears, through a hole in the books.\n", " \n", " PATRICK\n", " Excuse me, have you seen The Feminine \n", " Mystique? I lost my copy.\n", " \n", " KAT \n", " (frowning)\n", " What are you doing here?\n", " \n", " PATRICK\n", " I heard there was a poetry reading.\n", " \n", " KAT\n", " You 're so --\n", " \n", " PATRICK\n", " Pleasant?\n", " \n", " Kat stares at him, deadpan.\n", " \n", " PATRICK \n", " (continuing)\n", " Wholesome.\n", " \n", " KAT\n", " Unwelcome.\n", " \n", " PATRICK\n", " Unwelcome? I guess someone still has \n", " her panties in a twist.\n", " \n", " KAT\n", " Don't for one minute think that you had \n", " any effect whatsoever on my panties.\n", " \n", " PATRICK\n", " So what did I have an effect on ?\n", " \n", " KAT\n", " Other than my upchuck reflex? Nothing.\n", " \n", " She pushes past him and heads out the' door\n", " Pat looks down at the book he's been holding in his hand: \n", " Taming of the Shrew.\n", " \n", " INT. CAFETERIA - DAY\n", " \n", " Cameron and Michael flank Patrick as he shovels food into \n", " mouth.\n", " \n", " PATRICK\n", " You were right. She's still pissed.\n", " \n", " MICHAEL\n", " Sweet love, renew thy force!\n", " \n", " PATRICK\n", " Man -- don't say shit like that to me. \n", " People can hear you.\n", " \n", " CAMERON\n", " (exasperated)\n", " You humiliated the woman! Sacrifice \n", " yourself on the altar of dignity and \n", " even the score.\n", " \n", " MICHAEL\n", " Best case scenario, you're back on the \n", " payroll for awhile.\n", " \n", " PATRICK\n", " What's the worst?\n", " \n", " CAMERON\n", " You get the girl.\n", " \n", " Patrick thinks for a minute\n", " \n", " PATRICK\n", " If I go down. I'm takin' her with me\n", " \n", " INT. ENGLISH CLASS - DAY\n", " \n", " Kat and the other students sit at their desks, taking a quiz \n", " Patrick's seat is conspicuously empty.\n", " \n", " From outside, we hear the soft, unsure beginnings of a SONG. \n", " Kat looks up, then out the window, HORRIFIED.\n", " \n", " The song grows louder until we realize it's The Partridge \n", " Family's \"I Think I Love You\". Being sung by Patrick.\n", " \n", " PATRICK \n", " (0. S.)\n", " \"This morning, I woke up with this \n", " feeling, I didn't know how to deal with, \n", " and so I just decided to myself--\"\n", " \n", " The STUDENTS rush to the window. OUTSIDE Patrick stands \n", " beneath the window, crooning.\n", " \n", " Scurvy is next to him, keeping the beat on the bongos and \n", " doing backup vocal s.\n", " \n", " PATRICK\n", " \"I'd hide it to myself. And never talk \n", " about it. And didn't I go and shout it \n", " when you walked into the room --\"\n", " \n", " He makes quite a sarcastic show of it.\n", " \n", " IN THE CLASSROOM\n", " \n", " Mrs. Blaise touches her heart, as if the song is for her. \n", " Kat slowly walks to the window, peeking below.\n", " \n", " OUTSIDE\n", " \n", " Patrick smiles at her as he finishes the verse with a big \n", " finale.\n", " \n", " PATRICK \n", " (continuing)\n", " \" I think I love you I \"\n", " \n", " INSIDE\n", " \n", " The other students laugh, clap, cheer, etc. Kat sinks down, \n", " mortified, but with a slight smile\n", " \n", " INT. DETENTION HALL - DAY\n", " \n", " Patrick and several other miscreants sit quietly, mulling \n", " over their misfortune.\n", " \n", " MISCREANT \n", " Nice song, Verona.\n", " \n", " PATRICK\n", " Flog me.\n", " \n", " He makes the appropriate hand gesture\n", " \n", " Mr. Chapin, the gym teacher, sits at the desk in front, \n", " ignoring them while he reads a girly weightlifting magazine\n", " \n", " KAT (0. S.)\n", " Excuse me, Mr. Chapin?\n", " \n", " Patrick looks up at the sound of her voice and sees Kat \n", " standing in the doorway. She gives him a smile and he perks \n", " up a little.\n", " \n", " Kat walks into the room and addresses Mr. Chapin again. He \n", " turns fully to face her.\n", " \n", " KAT\n", " Sir, I'd like to state for the record \n", " that Mr. Verona ' s current \n", " incarceration is unnecessary. I never \n", " filed a complaint.\n", " \n", " MR. CHAPIN \n", " You didn't have to. He disrupted a \n", " classroom.\n", " \n", " Kat glances over at Patrick and motions her head toward the \n", " window.\n", " \n", " Patrick shrugs, not knowing what she ' s talking about.\n", " \n", " She motions again, and looks toward the window with an \n", " expression that says, \"Make a break for it, moron.\"\n", " \n", " Kat brings her attention back to Mr. Chapin while Patrick \n", " inches out of his seat toward the window.\n", " \n", " The other miscreants watch with glee.\n", " \n", " KAT\n", " But, Mr. Chapin, I hardly think a \n", " simple serenade warrants a week of \n", " detention. There are far more hideous \n", " acts than off-key singing being \n", " performed by the student body on a \n", " regular basis.\n", " \n", " Patrick is halfway out the window now. And none too happy \n", " about it, considering they're on the second floor.\n", " \n", " He eyes a large TREE a few feet away from MR. CHAPIN. He \n", " starts to turn away from Kat\n", " \n", " MR. CHAPIN \n", " You're not gonna change my mind, Kat. \n", " Rules stick.\n", " \n", " Kat starts to panic, as Patrick has yet to make the jump for \n", " the tree.\n", " \n", " KAT\n", " Wait, Mr. Chapin. There's something \n", " I've always wanted to show you.\n", " \n", " He turns back toward her again, the very second before he \n", " would have spotted Patrick.\n", " \n", " Kat glances toward the window. Patrick's just about to make \n", " the jump.\n", " \n", " MR. CHAPIN \n", " What?\n", " \n", " KAT\n", " These.\n", " \n", " From behind, we see her lift up her shirt and flash her bra \n", " at Mr. Chapin, just as Patrick makes the Jump.\n", " \n", " The miscreants cheer, for both the daring' escape and the \n", " flash of skin.\n", " \n", " Mr. Chapin reddens and tries to be stern.\n", " \n", " MR. CHAPIN \n", " I'm going to let that slide, Katarina. \n", " But if I catch you doing that again, \n", " you'll be in here with the rest of these \n", " guys.\n", " \n", " He motions to the remaining detention prisoners, without \n", " noticing Patrick's absence.\n", " \n", " Kat smiles at him.\n", " \n", " KAT\n", " Thank you, Mr. Chapin.\n", " \n", " Kat bolts out the door. Mr. Chapin goes back to his muscle \n", " mag, wiping the sweat from his brow.\n", " \n", " EXT. SCHOOL CAMPUS LAWN\n", " \n", " Kat arrives at the tree. looking around breathlessly, seeing \n", " no one.\n", " \n", " KAT\n", " He left! I sprung the dickhead and he \n", " cruised on me.\n", " \n", " PATRICK \n", " (0. S.)\n", " Look up, sunshine\n", " \n", " She does. He's still in the tree\n", " \n", " PATRICK\n", " I guess I never told you I'm afraid of \n", " heights.\n", " \n", " KAT\n", " (smiling)\n", " C'mon. It's not that bad\n", " \n", " PATRICK\n", " Try lookin' at it from this angle\n", " \n", " She assesses the branch structure\n", " \n", " KAT\n", " Put your right foot there --\n", " \n", " PATRICK\n", " Forget it. I'm stayin'.\n", " \n", " KAT\n", " You want me to climb up and show you \n", " how to get down?\n", " \n", " PATRICK\n", " (voice trembling)\n", " Maybe.\n", " \n", " She sighs and dose so. When she gets to his level, she \n", " perches on the branch next to him. He grins at her.\n", " \n", " Then swings himself down with the grace and ease of a \n", " monkey, leaving her sitting there, realizing she's been \n", " duped.\n", " \n", " KAT\n", " You shit!\n", " \n", " She climbs down after him\n", " \n", " EXT. OUTDOOR ARCADE - DAY \n", " \n", " Patrick and Kat walk amongst the games\n", " \n", " KAT\n", " The Partridge Family?\n", " \n", " PATRICK\n", " I figured it had to be something \n", " ridiculous to win your respect. And \n", " piss you off.\n", " \n", " KAT\n", " Good call.\n", " \n", " PATRICK\n", " So how'd you get Chapin to look the \n", " other way?\n", " \n", " KAT\n", " I dazzled him with my wit\n", " \n", " She stops and picks up a toy gun that SHOOTS water at \n", " giggling hyenas and wails on it. The barker hands her a \n", " stuffed animal as her prize. She hands it to the small KID \n", " next to her and they continue walking.\n", " \n", " PATRICK \n", " (sarcastic)\n", " A soft side? Who knew?\n", " \n", " KAT\n", " Yeah, well, don't let it get out\n", " \n", " PATRICK\n", " So what's your excuse?\n", " \n", " KAT\n", " Acting the way we do.\n", " \n", " PATRICK\n", " Yes\n", " \n", " KAT\n", " I don't like to do what people expect. \n", " Then they expect it all the time and \n", " they get disappointed when you change.\n", " \n", " PATRICK\n", " So if you disappoint them from the \n", " start, you're covered?\n", " \n", " KAT\n", " Something like that\n", " \n", " PATRICK\n", " Then you screwed up\n", " \n", " KAT\n", " How?\n", " \n", " PATRICK\n", " You never disappointed me.\n", " \n", " She blushes under his gaze\n", " \n", " PATRICK \n", " (continuing)\n", " You up for it?\n", " \n", " KAT\n", " For. . . ?\n", " \n", " He motions to the SIGN for a paint-ball game. She grins \n", " SERIES OF SHOTS:\n", " \n", " The two of them creep through the paint-ball course, \n", " stealthy and full of the desire to best the other.\n", " \n", " Patrick nails Kat in the back with a big glob of red paint \n", " Kat gets him in the chest with a glob of blue.\n", " \n", " Patrick returns fire with a big yellow splat to the side of \n", " her face.\n", " \n", " Kat squirts a green shot to his forehead After a few more \n", " shots, they're both covered in paint\n", " \n", " She tries to shoot him again, only to find that her gun is \n", " empty.\n", " \n", " KAT \n", " (continuing)\n", " Damn it!\n", " \n", " Patrick grabs her in a victorious tackle. They land, \n", " laughing.\n", " \n", " It's hard to even recognize them, as their hair and faces \n", " are so smeared with paint globs, but they still manage to \n", " find each other's eyes.\n", " \n", " He wipes a smear of blue paint away from her lips, as he \n", " goes to kiss her.\n", " \n", " NEARBY The kid with the stuffed animal, points\n", " \n", " KID \n", " Look, Mom\n", " \n", " His mother hurries him away. What's started as a tackle has \n", " turned into a passionate kiss\n", " \n", " EXT. STRATFORD HOUSE - NIGHT\n", " \n", " Patrick pulls up in Kat's driveway. Their paint wardrobe \n", " has dried by now and they look like refugees from some \n", " strange, yet colorful, war.\n", " \n", " KAT\n", " State trooper?\n", " \n", " PATRICK\n", " Fallacy.\n", " \n", " KAT\n", " The duck?\n", " \n", " PATRICK\n", " Hearsay.\n", " \n", " KAT\n", " I know the porn career's a lie.\n", " \n", " He shuts off the car and turns to her.\n", " \n", " PATRICK\n", " Do you?\n", " \n", " He kisses her neck. It tickles. She laughs.\n", " \n", " KAT\n", " Tell me something true.\n", " \n", " PATRICK\n", " I hate peas.\n", " \n", " KAT\n", " No -- something real. Something no one \n", " else knows.\n", " \n", " PATRICK \n", " (in-between kisses)\n", " You're sweet. And sexy. And \n", " completely hot for me.\n", " \n", " KAT\n", " What?\n", " \n", " PATRICK\n", " No one else knows\n", " \n", " KAT\n", " You're amazingly self-assured. Has \n", " anyone ever told you that?\n", " \n", " PATRICK\n", " Go to the prom with me\n", " \n", " Kat's smile disappears.\n", " \n", " KAT\n", " Is that a request or a command?\n", " \n", " PATRICK\n", " You know what I mean\n", " \n", " KAT\n", " No.\n", " \n", " PATRICK\n", " No what?\n", " \n", " KAT\n", " No, I won't go with you\n", " \n", " PATRICK\n", " Why not?\n", " \n", " KAT\n", " Because I don't want to. It's a stupid \n", " tradition.\n", " \n", " Patrick sits quietly, torn. He can't very well tell her he \n", " being paid to take her.\n", " \n", " PATRICK\n", " People won't expect you to go...\n", " \n", " Kat turns to him, getting angry.\n", " \n", " KAT\n", " Why are you doing this?\n", " \n", " KAT\n", " All of it -- what's in it for you?\n", " \n", " He sits silently, not looking at her, confirming her \n", " suspicions.\n", " \n", " KAT \n", " (continuing)\n", " Create a little drama? Start a new \n", " rumor? What?\n", " \n", " PATRICK\n", " So I have to have a motive to be with \n", " you?\n", " \n", " KAT\n", " You tell me.\n", " \n", " PATRICK\n", " You need therapy. Has anyone ever told \n", " you that?\n", " \n", " KAT \n", " (quietly)\n", " Answer the question, Patrick\n", " \n", " PATRICK \n", " (angry)\n", " Nothing! There's nothing in it for me. \n", " Just the pleasure of your company.\n", " \n", " He takes out a cigarette. She breaks it in half before she \n", " SLAMS the car door and walks into the house.\n", " \n", " Patrick PEELS out of the driveway. Kat turns at the front \n", " door and watches him go\n", " \n", " EXT. STREET - NIGHT \n", " \n", " Patrick pulls up to a stop light and waits for .the green\n", " \n", " He glances over at A DRUNKEN HOMELESS GUY in the median, who \n", " has decided that he doesn't need to wear pants.\n", " \n", " Patrick pulls out his wallet, takes the wad of money Joey \n", " gave him and hands it to the homeless guy.\n", " \n", " PATRICK\n", " cover that up\n", " \n", " The light turns green and Patrick pulls away\n", " \n", " INT. STRATFORD HOUSE/BATHROOM - NIGHT\n", " \n", " Kat stands at the sink, scrubbing paint off of her face \n", " Bianca TAPS on the open door.\n", " \n", " BIANCA\n", " Quick question -- are you going to the \n", " prom?\n", " \n", " Kat pushes the door shut with a SLAM\n", " \n", " INT. STUDY HALL - DAY\n", " \n", " Cameron and Bianca sit together at their study cubby. She \n", " fingers a strand of her hair.\n", " \n", " BIANCA\n", " Then Guillermo says, \"If you go any \n", " lighter, you're gonna look like an extra \n", " on 90210.\"\n", " \n", " CAMERON\n", " No...\n", " \n", " Bianca stares at him for a moment.\n", " \n", " BIANCA\n", " do you listen to this crap?\n", " \n", " CAMERON\n", " What crap?\n", " \n", " BIANCA\n", " Me. This endless ...blonde babble. I'm \n", " like, boring myself.\n", " \n", " CAMERON\n", " Thank God! If I had to hear one more \n", " story about your coiffure...\n", " \n", " He mock stabs himself with a pencil as she giggles and \n", " smacks his hand away.\n", " \n", " CAMERON\n", " (continuing)\n", " I figured you'd get to the good stuff \n", " eventually.\n", " \n", " BIANCA\n", " What good stuff?\n", " \n", " CAMERON\n", " The \"real you\".\n", " \n", " BIANCA\n", " Like my fear of wearing pastels?\n", " \n", " He looks stricken.\n", " \n", " BIANCA\n", " (continuing)\n", " I'm kidding. \n", " (beat)\n", " You know how sometimes you just become \n", " this \"persona\"? And you don't know how \n", " to quit?\n", " \n", " CAMERON\n", " (matter of fact)\n", " No\n", " \n", " BIANCA\n", " Okay -- you're gonna need to learn how \n", " to lie.\n", " \n", " INT. HALLWAY - DAY\n", " \n", " Mandella struggles with the lock on her locker. Finally, it \n", " opens.\n", " \n", " Hanging inside is a beautiful DRESS, inspired by the 16th \n", " Century. Mandella slowly unpins a NOTE from the dress.\n", " \n", " INSERT - \"0 FAIR ONE. JOIN ME AT THE PROM. I WILL BE \n", " WAITING. LOVE, WILLIAM S.\"\n", " \n", " Mandella's agog. Trevor walks by and sees her holding the \n", " dress.\n", " \n", " TREVOR\n", " You're gonna look splendiferous in \n", " that, Mandella.\n", " \n", " Mandella looks up sharply, shaken from her reverie.\n", " \n", " TREVOR \n", " (continuing)\n", " that's cool to say.\n", " \n", " Mandella grins It is\n", " \n", " MANDELLA\n", " \n", " INT. STRATFORD HOUSE/DEN - DAY\n", " \n", " Sharon is at her computer, Walter at his exercise bike\n", " \n", " SHARON\n", " Would you rather be ravished by a \n", " pirate or a British rear admiral?\n", " \n", " WALTER\n", " Pirate -- no question.\n", " \n", " Bianca enters and walks over to Walter\n", " \n", " BIANCA\n", " Daddy, I want to discuss the prom with \n", " you. It's tomorrow night --\n", " \n", " WALTER\n", " The prom? Kat has a date?\n", " \n", " BIANCA\n", " No, but\n", " \n", " WALTER\n", " It's that hot rod Joey, right? That ' s \n", " who you want me to bend my rules for?\n", " \n", " BIANCA\n", " He's not a \"hot rod\". Whatever that \n", " is.\n", " \n", " WALTER\n", " You're not going unless your sister \n", " goes. End of story.\n", " \n", " BIANCA\n", " Fine. I see that I'm a prisoner in my \n", " own house. I'm not a daughter. I'm a \n", " possession!\n", " \n", " Bianca storms out.\n", " \n", " WALTER\n", " (calling out)\n", " You know what happens at proms?\n", " \n", " Sharon stops her typing and looks up at Walter\n", " \n", " SHARON\n", " They'll dance, they'll kiss, they'll \n", " come home. Let her go.\n", " \n", " WALTER\n", " Kissing? Is that what you think \n", " happens? Kissing isn't what keeps me up \n", " to my elbows in placenta all day.\n", " \n", " INT. BIANCA'S ROOM - NIGHT \n", " \n", " Bianca lies on her bed. MTV blares. A KNOCK sounds.\n", " \n", " BIANCA\n", " Come in.\n", " \n", " Kat enters and sits down on the bed, muting the TV.\n", " \n", " KAT \n", " (kindly)\n", " Listen, I know you hate having to sit \n", " home because I'm not Susie High School.\n", " \n", " BIANCA\n", " Like you care.\n", " \n", " KAT\n", " I do care. But I'm a firm believer in \n", " doing something for your own reasons, \n", " not someone else ' s .\n", " \n", " BIANCA\n", " I wish I had that luxury. I'm the only \n", " sophomore that got asked to the prom and \n", " I can't go, because you won ' t.\n", " \n", " Kat clears her throat\n", " \n", " KAT\n", " Joey never told you we went out, did \n", " he?\n", " \n", " BIANCA\n", " What?\n", " \n", " KAT\n", " In 9th. For a month\n", " \n", " BIANCA\n", " (confused)\n", " Why?\n", " \n", " KAT \n", " (self-mocking)\n", " He was, like, a total babe\n", " \n", " BIANCA\n", " But you hate Joey\n", " \n", " KAT\n", " Now I do. Back then, was a different \n", " story.\n", " \n", " BIANCA\n", " As in...\n", " \n", " Kat takes a deep breath.\n", " \n", " KAT\n", " He said everyone was doing it. So I \n", " did it.\n", " \n", " BIANCA\n", " You did what?\n", " \n", " KAT \n", " (continuing on)\n", " Just once. Afterwards, I told him I \n", " didn't want to anymore. I wasn't ready. \n", " He got pissed. Then he broke up with \n", " me.\n", " \n", " Bianca stares at her, dumbfounded\n", " \n", " BIANCA\n", " But\n", " \n", " KAT\n", " After that, I swore I'd never do \n", " anything just because \"everyone else\" \n", " was doing it. And I haven't since. \n", " Except for Bogey's party, and my \n", " stunning gastro-intestinal display --\n", " \n", " BIANCA\n", " (stunned)\n", " Why didn't you tell me?\n", " \n", " KAT\n", " I wanted to let you make up your own \n", " mind about him.\n", " \n", " BIANCA\n", " No. you didn't! If you really thought \n", " I could make my own decisions, you \n", " would've let me go out with him instead \n", " of helping Daddy hold me hostage.\n", " \n", " Kat stands up slowly\n", " \n", " KAT\n", " That's not\n", " \n", " BIANCA\n", " I'm not stupid enough to repeat your \n", " mistakes.\n", " \n", " KAT\n", " I guess I thought I was protecting you.\n", " \n", " BIANCA\n", " God, you're just like him! Just keep me \n", " locked away in the dark, so I can't \n", " experience anything for myself\n", " \n", " KAT\n", " Not all experiences are good, Bianca. \n", " You can't always trust the people you \n", " want to.\n", " \n", " BIANCA\n", " I guess I'll never know, will I?\n", " \n", " She rises and holds the door open for Kat, then slams it \n", " behind her.\n", " \n", " EXT. STRATFORD HOUSE - DAY \n", " \n", " A sprinkler cruises the lawn.\n", " \n", " INT. KAT'S ROOM - DAY\n", " \n", " Kat lies in bed, staring at the ceiling. She rolls over and \n", " picks up the phone.\n", " \n", " BIANCA'S ROOM - DAY\n", " \n", " Bianca, still in her pajamas, eats a bowl of cereal while \n", " watching \"I Love Lucy\" reruns.\n", " \n", " A KNOCK sounds\n", " \n", " BIANCA\n", " Come in.\n", " \n", " Kat opens the door and peers in with a grin\n", " \n", " KAT\n", " Feel like shopping?\n", " \n", " Bianca looks up, hopefully.\n", " \n", " LIVING ROOM - NIGHT\n", " \n", " Walter and Sharon are in front of the television. Walter \n", " has the TV Guide in hand, glasses on.\n", " \n", " WALTER\n", " What do you wanna watch? We've got \n", " crap, crap, crap or crap\n", " \n", " SHARON \n", " Dr. Ruth?\n", " \n", " Bianca walks into the living room. She's wearing a prom \n", " dress.\n", " \n", " BIANCA\n", " Hi, Mommy.\n", " (looking away)\n", " WALTER\n", " \n", " Walter scurries takes off his glasses and looks from Bianca \n", " to Sharon.\n", " \n", " SHARON \n", " Honey, you look beautiful!\n", " \n", " BIANCA\n", " You like? My date should be here in \n", " five.\n", " \n", " WALTER\n", " I'm missing something.\n", " \n", " BIANCA\n", " I have a date, Daddy. And he ' s not a \n", " captain of oppression like some men we \n", " know.\n", " \n", " The DOORBELL RINGS. Bianca runs to open it. There stands \n", " CAMERON. He takes in Bianca's outfit.\n", " \n", " CAMERON\n", " Wow\n", " \n", " BIANCA\n", " Let's go.\n", " \n", " Walter rises. Sharon pulls him back down on the couch\n", " \n", " SHARON \n", " (to Bianca)\n", " Have a great time, honey!\n", " \n", " WALTER\n", " But -- who -- what --?\n", " \n", " The door SLAMS. As Sharon looks at Walter with a grin, a \n", " blur rushes down the stairs and out the door. The blur has \n", " Kat ' s voice.\n", " \n", " KAT\n", " Hey, guys. I'm going to the prom. See \n", " you in a few.\n", " \n", " The door SLAMS again. Walter and Sharon 'are alone\n", " \n", " WALTER\n", " What just happened?\n", " \n", " SHARON\n", " Your daughters went to the prom.\n", " \n", " WALTER\n", " Did I have anything to say about it?\n", " \n", " SHARON \n", " Absolutely not.\n", " \n", " WALTER\n", " That ' s what I thought\n", " \n", " The DOORBELL RINGS again. Walter opens it to find Joey on \n", " the porch, wearing a tux.\n", " \n", " JOEY \n", " I'm here to pick up Bianca.\n", " \n", " WALTER\n", " late\n", " \n", " He SLAMS the door shut\n", " \n", " EXT HOTEL PARKING LOT - NIGHT\n", " \n", " Kat pulls up in her car, emerging resplendent in an ice \n", " gown.\n", " \n", " Patrick sits on the steps, waiting. In a tux.\n", " \n", " KAT\n", " How'd you get a tux at the last minute?\n", " \n", " PATRICK\n", " It's Scurvy's. His date got convicted. \n", " Where'd you get the dress?\n", " \n", " KAT\n", " It's just something I had. You know\n", " \n", " PATRICK \n", " (smiling)\n", " Oh huh\n", " \n", " KAT\n", " Look, I'm -- sorry -- that I \n", " questioned your motives. I was wrong.\n", " \n", " Patrick winces slightly, but covers it with a smile\n", " \n", " PATRICK\n", " No prob.\n", " \n", " He remains seated. Kat fidgets nervously.\n", " \n", " KAT\n", " are you ready?\n", " \n", " He rises and stares at her, taking in her image \n", " appreciatively. She blushes and turns away.\n", " \n", " KAT \n", " (continuing)\n", " C'mon. Let's get this over with.\n", " \n", " INT. PROM - NIGHT\n", " \n", " A hotel ballroom transformed into a fantasy world. Patrick \n", " and Kat enter, Kat attempting to deny the romance of it.\n", " \n", " KAT\n", " Quite the ostentatious display\n", " \n", " A cowboy two-steps by them, dragging some poor girl around\n", " \n", " PATRICK\n", " Look, Clem even wore his good boots\n", " \n", " Kat steps forward, looking around and spots Cameron and \n", " Bianca dancing cheek to cheek. She smiles.\n", " \n", " ACROSS THE ROOM\n", " \n", " Mandella enters nervously, in the long Elizabethan gown, \n", " hair piled on top of her head. She spots Kat and hurries \n", " over.\n", " \n", " MANDELLA\n", " Have you seen him?\n", " \n", " KAT\n", " Who?\n", " \n", " MANDELLA\n", " William - he asked me to meet him here.\n", " \n", " KAT\n", " Oh, honey -- tell me we haven't' \n", " progressed to full-on hallucinations.\n", " \n", " Patrick looks toward the door and taps Kat. She turns and \n", " points Mandella the same way.\n", " \n", " Michael - in full Shakespearean dress with a new goatee on \n", " his chin - bows in their direction. Mandella's grin couldn't \n", " be bigger.\n", " \n", " Michael swashbuckles over to them, taking Mandella's hand \n", " and leading her onto the dance floor.\n", " \n", " MICHAEL \n", " Mi' lady.\n", " \n", " (to Patrick)\n", " Good sir.\n", " \n", " Patrick rolls his eyes.\n", " \n", " INT. PROM - NIGHT - LATER\n", " \n", " Kat and Patrick dance to a slow SONG. Whatever he's \n", " whispering into her ear is making her laugh.\n", " \n", " Cam and Bianca dance nearby, glowing with happiness. She \n", " whispers something in his ear and heads for the ladies' room\n", " \n", " INT. LADIES ROOM - NIGHT\n", " \n", " Bianca walks in, positively radiant. Chastity emerges from a \n", " stall.\n", " \n", " BIANCA\n", " (surprised)\n", " What are you doing here?\n", " \n", " Chastity checks her hair in the mirror, aloof.\n", " \n", " CHASTITY \n", " You think you ' re the only sophomore \n", " at the prom?\n", " \n", " BIANCA\n", " I did.\n", " \n", " Chastity maintains her snooty tone.\n", " \n", " CHASTITY \n", " And just so you know, my date isn't \n", " planning on spending most of the night \n", " in his backseat.\n", " \n", " BIANCA What're you talking about?\n", " \n", " CHASTITY \n", " Joey Dorsey is only after one thing - - \n", " your cherry. He practically made a \n", " public announcement.\n", " \n", " Appalled, Bianca storms out. Chastity tries to backpedal.\n", " \n", " CHASTITY \n", " (continuing)\n", " I wanted to tell you\n", " \n", " INT. PROM - NIGHT\n", " \n", " Joey, drunk, disorderly and pissed off, walks in with a few \n", " stray jocks - also dateless. He zeroes in on Cameron, now \n", " consoling a pissed-off Bianca.\n", " \n", " Patrick and Kat continue to slow dance, oblivious to the \n", " evil about to erupt.\n", " \n", " PATRICK\n", " My grandmother's .\n", " \n", " KAT\n", " What?\n", " \n", " PATRICK\n", " That's where I was last year. She'd \n", " never lived alone -- my grandfather died \n", " -- I stayed with her. I wasn't in jail, \n", " I don't know Marilyn Manson, and I've \n", " never slept with a Spice Girl. I spent \n", " a year sitting next to my grandma on the \n", " couch watching Wheel of Fortune. End of \n", " story.\n", " \n", " He takes a breath and looks away, not meeting her eyes. Kat \n", " stares at him for a moment and laughs a delighted laugh\n", " \n", " KAT\n", " That ' s completely adorable!\n", " \n", " PATRICK\n", " It gets worse -- you still have your \n", " freshman yearbook?\n", " \n", " He's interrupted by Joey's hand on his shoulder.\n", " \n", " JOEY\n", " What's Bianca doing here with that \n", " cheese dick? I didn't pay you to let \n", " some little punk ass snake me.\n", " \n", " ACROSS THE ROOM\n", " \n", " Michael spots the altercation and dances Mandella over to \n", " Cameron and Bianca.\n", " \n", " MICHAEL \n", " (to Cameron)\n", " Feces hitting fan. C'mon\n", " \n", " Michael takes Cameron aside, leaving Mandella and Bianca \n", " staring after them.\n", " \n", " ACROSS THE ROOM\n", " \n", " Michael and Cameron approach Joey as he continues to taunt \n", " Patrick who keeps quiet, realizing the weight of this \n", " situation.\n", " \n", " MICHAEL \n", " (continuing)\n", " Joey, pal, compadre. Let's take it \n", " easy.\n", " \n", " Joey turns toward Michael and Cameron.\n", " \n", " JOEY You two are in big trouble\n", " \n", " Cameron faces Joey.\n", " \n", " CAMERON\n", " Admit it. You lost. Be a man.\n", " \n", " Joey PUNCHES Cameron in the face, taking him by surprise \n", " Cameron holds his nose as it bleeds onto his tux\n", " \n", " The various cliques descend angrily and Joey is soon \n", " surrounded by seething Cowboys, Coffee Kids and White \n", " Rastas.\n", " \n", " DEREK \n", " Very uncool, my brother\n", " \n", " JOEY\n", " I'm not your brother, white boy.\n", " \n", " The other Rastas GASP, as if stung by the realization that \n", " they're white.\n", " \n", " Joey turns back to Patrick and Kat.\n", " \n", " JOEY \n", " (continuing)\n", " Just so you know -- she'll only spread \n", " her legs once.\n", " \n", " Kat looks from Joey to Patrick, not sure what she's hearing. \n", " Joey pushes through the crowd but a HAND drags him back. \n", " It's Bianca. And she BELTS the hell out of him\n", " \n", " BIANCA\n", " That's for making my date bleed\n", " \n", " She BELTS him again\n", " \n", " BIANCA\n", " (continuing)\n", " That's for my sister.\n", " \n", " And AGAIN\n", " \n", " BIANCA\n", " (continuing)\n", " And that's for me.\n", " \n", " Cliques now descend on Joey, punching him wildly.\n", " \n", " COWBOY\n", " And that's for the fourth grade, \n", " asshole.\n", " \n", " HOTEL - NIGHT \n", " \n", " KAT runs down the stairs, Patrick chasing her\n", " \n", " PATRICK\n", " Wait I...\n", " \n", " KAT\n", " You were paid to take me out! By -- \n", " the one person I truly hate. I knew it \n", " was a set-up!\n", " \n", " PATRICK\n", " It wasn't like that.\n", " \n", " KAT\n", " Really? What was it like? A down \n", " payment now, then a bonus for sleeping \n", " with me?\n", " \n", " PATRICK\n", " I didn't care about the money.\n", " \n", " He catches up to her now\n", " \n", " PATRICK \n", " (continuing)\n", " I cared about --\n", " \n", " She turns to face him with a countenance more in sorrow than \n", " in anger.\n", " \n", " KAT\n", " You are so not what I thought you were.\n", " \n", " He grabs her and kisses her to shut her up. After a second, \n", " she jerks away and flees down the stairs and out of sight.\n", " \n", " Bianca stands at the top of the stairs, watching. She's \n", " never looked more guilty.\n", " \n", " INT. STRATFORD HOUSE - DAY\n", " \n", " Kat is sprawled on the couch in sweats, wrapped in a \n", " blanket, watching \"Sixteen Candles\". When Molly Ringwald \n", " leans across the birthday cake to get a kiss from her dream \n", " date, Kat changes the channel disgustedly, settling for an \n", " infomercial\n", " \n", " The phone sits next to her. Not ringing. Bianca breezes \n", " in, bearing a cup of tea.\n", " \n", " BIANCA\n", " Are you sure you don't want to come \n", " with us? It'll be fun.\n", " \n", " Kat takes the tea and gives a weak smile.\n", " \n", " KAT\n", " I ' m sure .\n", " \n", " Bianca sits down next to her\n", " \n", " BIANCA\n", " You looked beautiful last night, you \n", " know.\n", " \n", " KAT\n", " So did you\n", " \n", " Bianca gives her a squeeze, then jumps up when the DOORBELL \n", " rings, opening the door to a waiting Cameron. He peeks his \n", " head inside.\n", " \n", " CAMERON\n", " She okay?\n", " \n", " BIANCA\n", " I hope so.\n", " \n", " The door shuts behind her as Walter enters.\n", " \n", " WALTER\n", " Was that your sister?\n", " \n", " KAT\n", " Yeah. She left with some bikers Big \n", " ones. Full of sperm.\n", " \n", " WALTER\n", " Funny.\n", " \n", " Walter sits down on the arm of the chair and watches the \n", " infomercial with Kat.\n", " \n", " WALTER\n", " (continuing)\n", " I don't understand the allure of \n", " dehydrated food. Is this something I \n", " should be hip to?\n", " \n", " KAT\n", " No, Daddy.\n", " \n", " WALTER\n", " (dreading the \n", " answer)\n", " So tell me about this dance. Was it \n", " fun?\n", " \n", " KAT\n", " Parts of it.\n", " \n", " WALTER\n", " Which parts?\n", " \n", " KAT\n", " The part where Bianca beat the hell out \n", " of some guy.\n", " \n", " WALTER\n", " Bianca did what?\n", " \n", " KAT\n", " What's the matter? Upset that I rubbed \n", " off on her?\n", " \n", " WALTER\n", " No -- impressed.\n", " \n", " Kat looks up in surprise.\n", " \n", " WALTER\n", " (continuing)\n", " You know, fathers don't like to admit \n", " that their daughters are capable of \n", " running their own lives. It means we've \n", " become spectators. Bianca still lets me \n", " play a few innings. You've had me on \n", " the bleachers for years. When you go to \n", " Sarah Lawrence, I won't even be able to \n", " watch the game.\n", " \n", " KAT \n", " (hopeful)\n", " When I go?\n", " \n", " WALTER\n", " Oh, Christ. Don't tell me you've \n", " changed your mind. I already sent 'em a \n", " check.\n", " \n", " Kat reaches over and gives him a hug\n", " \n", " INT. CAFETERIA - DAY Kat stands grabs a box of cornflakes \n", " from the food line.\n", " \n", " CAMERON (0. S.)\n", " Katarina?\n", " \n", " She turns and looks at him\n", " \n", " CAMERON\n", " I'd like to express my apologies.\n", " \n", " KAT\n", " For what?\n", " \n", " CAMERON\n", " (looking down)\n", " I didn't mean for you to get -- When \n", " Bianca asked me to find you a boyfriend, \n", " I had no idea it would turn out so -- \n", " ugly. I would never have done anything \n", " to compromise your - - -\n", " \n", " He trails off when he realizes she's thrown her food tray \n", " against the wall and marched off -- the old \"kill, kill\" \n", " look back in her eyes.\n", " \n", " INT. HALLWAY - DAY \n", " \n", " Kat stomps up the hallway, full of menace\n", " \n", " CLASSROOM - DAY\n", " \n", " Bianca's English teacher perches on the edge of a desk, open \n", " book in hand.\n", " \n", " TEACHER\n", " Who can tell me at what point Lucentio \n", " admits his deception?\n", " \n", " The door of the classroom FLIES open and an angry Kat stalks \n", " in, yanking Bianca from her chair and dragging her toward \n", " the hallway.\n", " \n", " KAT \n", " (to the teacher)\n", " Family emergency.\n", " \n", " HALLWAY - DAY\n", " \n", " Bianca tries to pull away as Kat drags her by the hair \n", " between two rows of lockers.\n", " \n", " BIANCA\n", " Let go!\n", " \n", " KAT\n", " You set me up.\n", " \n", " BIANCA\n", " I just wanted --\n", " \n", " KAT\n", " What? To completely damage me? To send \n", " me to therapy forever? What?\n", " \n", " BIANCA\n", " No! I just wanted\n", " \n", " Miss Perky walks up\n", " \n", " MISS PERKY\n", " Ladies? Shall we take a trip to my \n", " office?\n", " \n", " INT. MISS PERKY'S OFFICE - DAY\n", " \n", " Miss Perky stares at both sisters as they sit before her, \n", " then focuses on Bianca.\n", " \n", " MISS PERKY\n", " So you're the real bitch\n", " \n", " BIANCA\n", " Yes! Okay? Yes -- I'm the real bitch. \n", " I wanted her to get a boyfriend so I \n", " could. Apparently, this makes me a \n", " horrible person. I'm sorry.\n", " \n", " She turns to Kat.\n", " \n", " BIANCA\n", " (continuing)\n", " I swear -- I didn't know about the \n", " money. I didn't even know Joey was \n", " involved. I would never intentionally \n", " hurt you, Kat.\n", " \n", " MISS PERKY \n", " (to Kat)\n", " Do you care to respond?\n", " \n", " KAT\n", " Am I supposed to feel better? Like, \n", " right now? Or do I have some time to \n", " think about it?\n", " \n", " MISS PERKY \n", " Just smack her now.\n", " \n", " Bianca rises, taking Kat by the arm.\n", " \n", " BIANCA\n", " (to Miss Perky)\n", " We'll be getting back to you.\n", " \n", " MISS PERKY \n", " What, no hug?\n", " \n", " HALLWAY - DAY \n", " \n", " And Bianca leave Miss Perky's office\n", " \n", " BIANCA\n", " Is that woman a complete fruit-loop or \n", " is it just me?\n", " \n", " KAT\n", " It's just you.\n", " \n", " ENGLISH CLASS - DAY \n", " \n", " Mrs. Blaise faces the class\n", " \n", " MRS. BLAISE\n", " All right. I'm assuming everyone found \n", " time to compose, their poems. Except for \n", " Mr. Dorsey, who's still in ICU.\n", " \n", " Nerds in the back high-five each other.\n", " \n", " MRS. BLAISE \n", " (continuing)\n", " Would anyone care to read theirs aloud?\n", " \n", " No one moves. Then Kat slowly stands up.\n", " \n", " KAT\n", " I'11 go\n", " \n", " Patrick looks up.\n", " \n", " MRS. BLAISE \n", " Oh, Lord.\n", " \n", " She downs a couple Prozac\n", " \n", " MRS. BLAISE \n", " (continuing)\n", " Please proceed.\n", " \n", " Kat stands, puts on her glasses, and takes a deep breath \n", " before reading from her notebook.\n", " \n", " KAT\n", " I hate the way you talk to me/ and the \n", " way you cut your hair/ I hate the way \n", " you drive my car/ I hate it when you \n", " stare.\n", " \n", " She pauses, then continues\n", " \n", " KAT \n", " (continuing)\n", " I hate your big dumb combat boots/ and \n", " the way you read my mind/ I hate you so \n", " much it makes me sick/ it even makes me \n", " rhyme.\n", " \n", " She takes a deep breath, and looks quickly at Patrick, who \n", " stares at the floor.\n", " \n", " KAT \n", " (continuing)\n", " I hate the way you're always right/ I \n", " hate it when you lie/ I hate it when you \n", " make me laugh/ even worse when you make \n", " me cry/ I hate it that you're not \n", " around/ and the fact that you didn't \n", " call/ But mostly I hate the way I don ' \n", " t hate you/ not even close, not even a \n", " little bit, not even any at all.\n", " \n", " She looks directly at Patrick. He looks back this time. \n", " The look they exchange says everything.\n", " \n", " Then she walks out of the room The rest of the class remains \n", " in stunned silence.\n", " \n", " EXT. PARKING LOT - MOMENTS LATER\n", " \n", " Kat walks to her car alone. When she opens the door, she's \n", " greeted with a Fender Stratocaster guitar, reclining in the \n", " front seat.\n", " \n", " She picks it up slowly, inspecting every detail, then spins \n", " around.\n", " \n", " Patrick stands there, smiling.\n", " \n", " KAT\n", " A Fender Strat. You bought this?\n", " \n", " PATRICK\n", " I thought you could use it. When you \n", " start your band.\n", " \n", " She doesn't answer, but hides a smile, so he walks closer.\n", " \n", " PATRICK \n", " (continuing)\n", " Besides, I had some extra cash. Some \n", " asshole paid me to take out a really \n", " great girl.\n", " \n", " KAT\n", " Is that right?\n", " \n", " PATRICK\n", " Yeah, but then I fucked up. I fell for \n", " her.\n", " \n", " Blushes and looks down.\n", " \n", " PATRICK \n", " (continuing)\n", " You know -- it's not every day you find \n", " a girl who'll flash her tits to get you \n", " out of detention.\n", " \n", " Looks up. surprised and embarrassed that he found out\n", " \n", " He takes her upturned face as a sign to kiss her and he does \n", " She lets him this time.\n", " \n", " Then breaks it off\n", " \n", " KAT\n", " You can't just buy me a guitar every \n", " time you screw up, you know.\n", " \n", " He grimaces.\n", " \n", " PATRICK\n", " I know\n", " \n", " He quiets her with another kiss Which she breaks off again.\n", " \n", " KAT\n", " And don't just think you can\n", " \n", " He kisses her again, not letting her end it this time.\n", " \n", " STRATFORD HOUSE - SUNSET\n", " \n", " We hear the sounds of MUSIC and LAUGHTER.\n", " \n", " STRATFORD HOUSE/BACKYARD - SUNSET\n", " \n", " Patrick is at the barbecue grill, flipping burgers. Kat \n", " watches.\n", " \n", " KAT\n", " Why is my veggie burger the only burnt \n", " object on this grill?\n", " \n", " PATRICK\n", " Because I like to torture you.\n", " \n", " KAT\n", " Oh, Bianca? Can you get me my freshman \n", " yearbook?\n", " \n", " PATRICK\n", " Don ' t you even dare. . .\n", " \n", " ON BIANCA AND CAMERON As they argue on the patio.\n", " \n", " CAMERON\n", " They do to!\n", " \n", " BIANCA\n", " They do not!\n", " \n", " Rises to get the yearbook.\n", " \n", " CAMERON\n", " Can someone please tell her that \n", " sunflower seeds come from sunflowers?\n", " \n", " ON MICHAEL AND MANDELLA\n", " \n", " Severely making-out in a lawn chair. She comes up for a \n", " breath.\n", " \n", " MANDELLA\n", " I can't remember a word of Shakespeare \n", " right now. Isn't that weird?\n", " \n", " Michael pulls her back down for another round ON KAT AND \n", " PATRICK\n", " \n", " She tries to keep him from grabbing the yearbook that Bianca \n", " now hands her.\n", " \n", " KAT\n", " You're freaked over this, aren't you?\n", " \n", " Bianca hands her the yearbook\n", " \n", " BIANCA\n", " He's more than freaked. He's froke\n", " \n", " Flips to a page.\n", " \n", " KAT\n", " I'd like to call your attention to \n", " Patrick Verona's stunning bad-ass look \n", " of 1995 ---\n", " \n", " INSERT - A horrifically nerdy freshman year picture Glasses, \n", " bad hair, headgear -- the works.\n", " \n", " She holds up the picture for all to view. Patrick cringes \n", " and throws a handful of pretzels at her.\n", " \n", " BIANCA\n", " Patrick -- is that- a.\n", " \n", " KAT\n", " Perm?\n", " \n", " PATRICK\n", " Ask my attorney.\n", " \n", " Kat and Bianca huddle over the picture, giggling -- as we \n", " CRANE UP and hear a GIRLY PUNK version of The Partridge \n", " Family's \"I Think I Love You\".\n", " \n", " FADE OUT:\n", " \n", " END \n", "\n", "\n", "\n", "
\n", "\tFADE IN\n", "\n", "\ton the words CZECH AIRLINE. We are panning across the words\n", "\ton the side of the plane.\n", "\n", "\tINT. AIRPLANE\n", "\n", "\tANGLE DOWN\n", "\n", "\ton a tray table. Crumpled Czech bills and coins are on it. \n", "\tHands are counting the money. The airline hostess announces\n", "\tthe arrival at JFK - in CZECH. A hand reaches into a breast\n", "\tpocket - pulling out two passports. One is opened. Belongs\n", "\tto EMIL SLOVAK. The next passport belongs to OLEG RAZGUL. \n", "\tThe hand passes the Oleg Razgul passport to the man next to\n", "\thim. We notice several empty airline bottles of vodka and a\n", "\tsmall disposable camera on Oleg's tray table. The passport\n", "\tis set down. Oleg picks it up. We hear Emil's voice in\n", "\tCZECH. The scene is subtitled in ENGLISH.\n", "\n", "\t\t\t\tEMIL (V.O.)\n", "\t\tJust do what I do. Say the same thing I\n", "\t\tsay. Don't open your mouth.\n", "\n", "\t\t\t\tOLEG (V.O.)\n", "\t\tOkay.\n", "\n", "\tINT. PASSPORT CONTROL - KENNEDY AIRPORT - DAY\n", "\n", "\tCAMERA DOLLIES down a long line of passengers. They are\n", "\tsplit into two lines - one for Americans, the other for\n", "\tvisitors. CAMERA finally arrives at EMIL SLOVAK. An\n", "\tunshaven Czech in his mid-30's. Tall, scraggly beard. \n", "\tPiercing blue eyes. He's dressed in an outdated suit. His\n", "\teyes are alert, cunning and smart.\n", "\n", "\tOLEG RAZGUL, stands in line behind Emil. Oleg is big. Not\n", "\ttall - but wide. A wrestler's body. Emil looks at Oleg. \n", "\t(The following is in CZECH and subtitled in ENGLISH.)\n", "\n", "\t\t\t\tEMIL\n", "\t\tDon't fool around.\n", "\n", "\t\t\t\tOLEG\n", "\t\tOkay.\n", "\n", "\tOleg holds up his disposable camera - at arms length - to\n", "\ttake a picture of himself.\n", "\n", "\t\t\t\tEMIL\n", "\t\tDid you hear what I said?\n", "\n", "\t\t\t\tOLEG\n", "\t\tI want to document my trip to America.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tNext.\n", "\t\t\t(Emil steps up)\n", "\t\tCould I see your documents, please?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYes sir.\n", "\n", "\tHe hands the passport to the officer who runs it through an\n", "\timage swipe. Emil glances furtively back to Oleg.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tWhat is your intended purpose of your\n", "\t\tvisit to the United States?\n", "\n", "\t\t\t\tEMIL\n", "\t\tTwo weeks holiday.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tHow much money are you carrying with\n", "\t\tyou?\n", "\n", "\t\t\t\tEMIL\n", "\t\tI have five-hundred dollars.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tCan you show me? Sir, no cameras in the\n", "\t\tFIS area!\n", "\n", "\tOleg was about to take a picture of Emil and the Immigration\n", "\tOfficer. Oleg puts the camera away. Smiles sheepishly.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER (CONT'D)\n", "\t\t\t(to Emil)\n", "\t\tIs he with you? Are you travelling\n", "\t\ttogether?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYes.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tPlease join us.\n", "\t\t\t(to Oleg)\n", "\t\tCome on forward.\n", "\n", "\t\t\t\tEMIL\n", "\t\tIs there a problem?\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tNo, you're travelling together. I want\n", "\t\tto talk to you together. Hi, how are\n", "\t\tyou? Can I take a look at your\n", "\t\tdocuments?\n", "\t\t\t(takes Oleg's passport)\n", "\t\tAre you related?\n", "\n", "\t\t\t\tOLEG\n", "\t\tYes...he's my friend.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tOkay. You're a Czech national and\n", "\t\tyou're a Russian national. How do you\n", "\t\tknow one another?\n", "\n", "\tOleg starts to speak, but Emil cuts him off.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWe are both from Prague.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\t\t(to Oleg)\n", "\t\tHow long are you planning to stay?\n", "\n", "\t\t\t\tEMIL\n", "\t\tTwo weeks.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tI'd like to speak for himself, okay?\n", "\n", "\t\t\t\tEMIL\n", "\t\tHe doesn't speak English.\n", "\n", "\t\t\t\tOLEG\n", "\t\tI speak English.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\t\t(to Oleg)\n", "\t\tThen answer my questions. Where were\n", "\t\tyou planning to stay during the two\n", "\t\tweeks that you're here?\n", "\n", "\t\t\t\tOLEG\n", "\t\tNew York.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tYes, we're in New York now. But where\n", "\t\tare you planning to stay in New York?\n", "\n", "\t\t\t\tOLEG\n", "\t\tA cheap hotel.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tWhat are you coming here to do?\n", "\n", "\t\t\t\tOLEG\n", "\t\tI'm here for movies.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tMovies...to be in the movies or to see\n", "\t\tmovies?\n", "\n", "\t\t\t\tOLEG\n", "\t\tYes. No. Both. When I was a boy, I\n", "\t\tsee movie at school called \"It's a\n", "\t\tWonderful Life\" directed by Frank Capra. \n", "\t\tEver since I want to come to America. \n", "\t\tLand of the free. Home of the brave. A\n", "\t\tland where anyone can be anything. As\n", "\t\tlong as they are white.\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tExcuse me?\n", "\n", "\t\t\t\tEMIL\n", "\t\tHe made joke, bad joke. First time on\n", "\t\tairplane...\n", "\n", "\tThe SUPERVISOR comes over to see what the problem is:\n", "\n", "\t\t\t\tIMMIGRATION OFFICER\n", "\t\tWell, they've got valid visas, but they\n", "\t\tdon't have much money. Uh... and I'm\n", "\t\tnot...uh, I think there's a possibility\n", "\t\tthey may be coming to live and reside.\n", "\n", "\t\t\t\tSUPERVISOR\n", "\t\tLook how long the line is. We gotta\n", "\t\tmove 'em out. I'll take them down to\n", "\t\tsecondary.\n", "\n", "\tEmil looks at Oleg, pissed.\n", "\n", "\tINT. P.B. HERMAN'S RESTAURANT - DAY\n", "\n", "\tThe place is empty except for one table at the end of the\n", "\tbar. EDDIE FLEMMING, Manhattan's most famous detective, and\n", "\this savvy, black partner, LEON JACKSON are having cocktails. \n", "\tEddie is smoothly handsome, tough, smart and tired. Not only\n", "\tis he the best homicide detective Manhattan has ever seen,\n", "\the's continually mentioned in New York columns and has been\n", "\tthe subject of several magazine articles. There's even been\n", "\ta TV movie about one of his biggest cases. Leon has been\n", "\twith Eddie a long time and was also featured in the TV movie.\n", "\n", "\tSitting with Eddie and Leon is ROBERT HAWKINS, host and star\n", "\treporter for the tabloid show, \"Top Story.\" Hawkins is also\n", "\tthe best in the business and has dealt with them all: Joey\n", "\tButtafuco and Amy Fisher, Lorena Bobbit and OJ.\n", "\n", "\tWait staff bustles in the b.g. doing the morning set up. \n", "\tHawkins listens as Eddie, cigar in hand, finishes a \"war\n", "\tstory\" and a vodka tonic at the same time.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tSo we're waitin' to hit this warrant -\n", "\t\twe got Emergency Service with the heavy\n", "\t\tweapons standin' by - ready to go. I\n", "\t\tsay, lemme get a cigar outta the car. I\n", "\t\tgo to get the cigar and BOOM! All the\n", "\t\tsudden I turn around and a kid with a\n", "\t\tshotgun let one go. Right where I was\n", "\t\tstandin'. That coulda been it. I\n", "\t\tcoulda had my head blown off and for\n", "\t\twhat? Some stupid kid got panicky,\n", "\t\ttakes the safety off and it's over. If\n", "\t\tI hadn't gone back for that cigar - for\n", "\t\ta bad habit - I would've had my head\n", "\t\tblown off.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tJesus Christ.\n", "\n", "\tPAULIE, the owner, walks up.\n", "\n", "\t\t\t\tPAULIE\n", "\t\tSpeakin' of bad habits, everybody okay?\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tAnother martini.\n", "\n", "\t\t\t\tLEON\n", "\t\tCoffee for me, I gotta slow down.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tVodka tonic.\n", "\n", "\t\t\t\tLEON\n", "\t\t\t(rethinks it)\n", "\t\tMaybe you could just put in a shot of\n", "\t\tMartell?\n", "\n", "\tPaulie takes the drinks off the table and an empty bottle of\n", "\tvodka.\n", "\n", "\t\t\t\tLEON (CONT'D)\n", "\t\t\t(of Eddie's story)\n", "\t\tIt was freaky, I'll tell you. Stupid\n", "\t\tkid.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWhat's the kid gonna say - sorry? \n", "\t\tMeanwhile I'm not here anymore. \n", "\t\tLike last week - we were at the morgue\n", "\t\tand this guy was all chopped up - spleen\n", "\t\there - liver there - his heart in a pan. \n", "\t\tSix hours ago this guy was walkin' his\n", "\t\tdog or buyin' a quart of milk. Who\n", "\t\tknows? But some kid's robbed him for $3\n", "\t\tor some shit and shot him and now you\n", "\t\tcan't tell if he's a piece of beef or a\n", "\t\thuman being and I'm thinkin' that's me. \n", "\t\tSooner or later. That's me. \n", "\n", "\t\t\t\tHAWKINS\n", "\t\tSooner or later that's everybody. \n", "\n", "\t\t\t\tEDDIE\n", "\t\tNot chopped up. Not chopped up like\n", "\t\tthat. I mean, what do I got left? \n", "\t\tCoupla articles. A medal or two. \n", "\t\tPlaque here and there and in a coupla\n", "\t\tyears no one remembers me anymore.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tI think you're getting a little moody\n", "\t\tthere, Eddie.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI'm not moody.\n", "\n", "\tHawkins and Leon share a look.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tIsn't he a little moody?\n", "\n", "\t\t\t\tLEON\n", "\t\tOf course he's moody. He thinks he's in\n", "\t\tlove.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tIn love? With who?\n", "\n", "\tPaulie delivers the drinks and sets some cigars on the table. \n", "\tTakes a seat next to Eddie. Eddie asks Hawkins.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tHow old are your kids?\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tMy kids? Let's see...Susan's 15. \n", "\t\tAundrea's 9. Don't tell me you're\n", "\t\tthinking about having a kid! How old\n", "\t\tare you? Never mind. \n", "\t\tLet me just tell you this: Every stupid\n", "\t\tcliche you hear about kids - they change\n", "\t\tyour life, they make you a better\n", "\t\tperson, they make you whole...\n", "\t\t\t(beat)\n", "\t\tIt's all true! Before I had kids when\n", "\t\tfriends talked about their kids, I\n", "\t\twanted to vomit. Now -- I get it. Am I\n", "\t\tright, Leon?\n", "\n", "\t\t\t\tLEON\n", "\t\tAbsomotherfuckin'lutely. You can have\n", "\t\tall three of my ex-wives. But somebody\n", "\t\tso much as looks sideways at my four\n", "\t\tgirls -- I'd kill 'em. \n", "\t\t\t(takes out his wallet)\n", "\t\tYou haven't seen my youngest have you?\n", "\n", "\tAs he hands pictures to Hawkins his cell phone rings.\n", "\n", "\t\t\t\tLEON (CONT'D)\n", "\t\tYeah?\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tPaulie, you've got kids, right?\n", "\n", "\t\t\t\tPAULIE\n", "\t\tMy kids don't talk to me anymore but\n", "\t\tthey were great when they were young.\n", "\n", "\t\t\t\tLEON\n", "\t\t\t(into the phone)\n", "\t\tSure it's him? Great!\n", "\t\t\t(collapses the phone)\n", "\t\tUnique's home.\n", "\n", "\tThey all rise from the table.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tPaulie, I need the cure.\n", "\n", "\t\t\t\tPAULIE\n", "\t\tStep into my office.\n", "\n", "\tLeon and Hawkins sit back down as Eddie and Paulie leave.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tSo you got your kids listening to Opera? \n", "\t\tYou still singing in the church on the\n", "\t\tweekends?\n", "\n", "\tINT. SECONDARY IMMIGRATION OFFICE - DAY\n", "\n", "\tNow other officers are questioning Emil and Oleg. They've\n", "\tbeen there a while. The SECONDARY OFFICER is looking Oleg.\n", "\n", "\t\t\t\tSECONDARY OFFICER\n", "\t\tOkay. You work in a vodka factory. I\n", "\t\tunderstand that.\n", "\t\t\t(to Emil)\n", "\t\tAnd what kind of work do you do?\n", "\n", "\t\t\t\tEMIL\n", "\t\tI am butcher.\n", "\n", "\t\t\t\tSECONDARY OFFICER\n", "\t\tYou're a butcher? What do you use pig\n", "\t\tintestines for?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYou stuff sausage in it.\n", "\n", "\t\t\t\tSECONDARY OFFICER\n", "\t\tAnd what do you do with the bones?\n", "\n", "\t\t\t\tEMIL\n", "\t\tDog food.\n", "\n", "\tEmil looks at Oleg. Blaming his stupid responses at Passport\n", "\tControl for their detainment.\n", "\n", "\t\t\t\tSECONDARY OFFICER\n", "\t\tAre you married?\n", "\n", "\t\t\t\tEMIL\n", "\t\tNo. Are you proposing?\n", "\n", "\tANGLE UP\n", "\n", "\tthrough a thousand ICE CUBES. A face plunges towards us...\n", "\n", "\tINT. MENS ROOM\n", "\n", "\tEddie has his back to us as he dunks his face into a sink\n", "\tfull of ice. He dries his face, looks into his bloodshot\n", "\teyes. Presents a small black ring box to the mirror.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWill you marry me? Wanna get married? \n", "\t\tWhat are you doin' Saturday?\n", "\n", "\tLeon enters. Eddie turns.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tI'm gonna propose.\n", "\n", "\t\t\t\tLEON\n", "\t\tWhen?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tTomorrow. At lunch.\n", "\n", "\t\t\t\tLEON\n", "\t\tYou ready?\n", "\n", "\tEddie leans back and drops some Visine in his eyes. Turns.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThe thrill of the hunt. I love it.\n", "\n", "\tEXT. TIMES SQUARE - DAY\n", "\n", "\tOleg and Emil stare at the bright lights - all the nonstop\n", "\taction. Each stands with an old suitcase.\n", "\n", "\t\t\t\tOLEG\n", "\t\t\t(in Russian)\n", "\t\tLook. Times Square. Just like in the\n", "\t\tmovies!\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(in Czech)\n", "\t\tDon't speak Russian!\n", "\n", "\t\t\t\tOLEG\n", "\t\t\t(in Russian)\n", "\t\tWhy? Why do I always have to speak to\n", "\t\tyou in Czech?\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(in Czech)\n", "\t\tBecause I don't like your ugly language. \n", "\t\tI heard enough of it in school! Now\n", "\t\tspeak Czech or English. And don't fool\n", "\t\taround anymore. You almost got us\n", "\t\tthrown out!\n", "\n", "\tEmil pulls out an envelope with Milos' address on it. This\n", "\tis who they came to see. Emil hails a CAB. Oleg is staring\n", "\tinside a camera store - at himself on a monitor. A\n", "\tvideocamera's pointed out in the street.\n", "\n", "\t\t\t\tOLEG\n", "\t\tLook. New videocameras. Color\n", "\t\tviewfinder. Image stabilization. \n", "\t\tSolarization. Night vision.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWe have no money. Come on.\n", "\n", "\tOleg stares at the videocamera - dying to have one like this. \n", "\tEmil slides into the cab.\n", "\n", "\t\t\t\tCABBIE\n", "\t\tWhere you wanna go, buddy?\n", "\n", "\tEmil pulls out the post-marked envelope. Points to the\n", "\treturn address on it and passes it through the slot to the\n", "\tCabbie.\n", "\n", "\t\t\t\tEMIL\n", "\t\tHere.\n", "\n", "\tEmil looks out the window - no sign of Oleg. Then, Oleg\n", "\thurries out the camera store, gripping something inside his\n", "\tcoat. He flings both suitcases in the trunk, SLAMS it shut \n", "\tand jumps in the back seat. He opens his jacket - pulling\n", "\tout the VIDEOCAMERA he just stole.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tGo!\n", "\n", "\tOleg smiles sheepishly at Emil.\n", "\t\t\n", "\n", "\tEXT. SPANISH HARLEM - DAY\n", "\n", "\tEddie's car pulls up. Eddie, Leon and Hawkins get out.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tSo what's unique?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tNot what. Who.\n", "\n", "\tEddie passes Hawkins a Polaroid - of a woman on a bed -\n", "\tcovered in blood.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tHe's from Antigua. His girlfriend was\n", "\t\ttaking too long to put her make-up on. \n", "\t\tthey were late for a party. Stabbed her\n", "\t\twith a beer bottle.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tThat's unique.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYeah. And he still went to the party.\n", "\n", "\tLeon moves to a LOOKOUT - gives him a twenty.\n", "\n", "\t\t\t\tLOOKOUT\n", "\t\tTop floor. Back room.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYeah. I make big cases, they make the\n", "\t\tnews and I look good. But the problem\n", "\t\twith becoming a star is downtown. They\n", "\t\tshoot at stars. Now be quiet. Shhh.\n", "\n", "\tAs they reach the doorway - Eddie surprises two crackheads. \n", "\tWaves them off. They hurry away.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tI hope this prick doesn't run. My knees\n", "\t\tare killing me. Stay behind me.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tYou're worried for my safety. I'm\n", "\t\ttouched.\n", "\n", "\tEddie flattens against the building - watches Unique descend\n", "\tthe fire escape.\n", "\n", "\t\t\t\tHAWKINS (CONT'D)\n", "\t\tReady?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tKeep them out of my way.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tOkay. You ready?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYeah, yeah. Jesus.\n", "\n", "\tEddie closes in.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\t\t(into his cell phone)\n", "\t\tCOME ON! COME ON! YOU FUCKING GUYS,\n", "\t\tLET'S MOVE IT!\n", "\n", "\tUnique is climbing down the fire escape - before he gets to\n", "\tthe bottom, Leon bursts through a door behind him and kicks\n", "\tthe fire escape, sending Unique flying into the alley. Where\n", "\the lands dropping his gun.\n", "\n", "\tEddie pulls him off the ground as Leon scoops the gun up.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWhat's your rush? Going to a party?\n", "\n", "\t\t\t\tUNIQUE\n", "\t\tWhy you chasin' me, man?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI don't know. You always come outta\n", "\t\tyour house that way?\n", "\n", "\t\t\t\tUNIQUE\n", "\t\tIt's not my house, man. I don't live\n", "\t\there.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWell, sounds like burglary to me.\n", "\n", "\tLeon cuffs Unique who recognizes Eddie.\n", "\n", "\t\t\t\tUNIQUE\n", "\t\tI know you man.\n", "\n", "\tAn unmarked van comes tearing into the scene. Disgorges a\n", "\tmini-cam team that starts filming but they missed the bust.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\t\t(to Eddie)\n", "\t\tAny chance we can do that again?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAgain? I didn't wanna do it the first\n", "\t\ttime.\n", "\t\t\t\t\t\t\n", "\n", "\tEXT. EAST SIDE - LATE DAY\n", "\n", "\tThe cab is in front of an old five-story brownstone. Oleg\n", "\tgets the bags out of the trunk as Emil tucks the envelope\n", "\tinto his jacket, then steps up to the old building. He looks\n", "\tback at Oleg - who's VIDEOTAPING him.\n", "\n", "\t\t\t\tEMIL\n", "\t\tTurn that off! Get the bags.\n", "\n", "\t\t\t\tOLEG\n", "\t\tWhy should I carry your bag? I am not a\n", "\t\tdog.\n", "\n", "\t\t\t\tEMIL\n", "\t\tFor five years I paid for your\n", "\t\tstupidness - you'll carry my bag for the\n", "\t\trest of my life if I say so.\n", "\t\t\t(challenging)\n", "\t\tUnless you refuse, Oleg.\n", "\n", "\tOleg looks at Emil. Even though Oleg is stronger than Emil,\n", "\the fears him. He picks up both bags. Emil searches the\n", "\toccupant list over the buzzers to the apartment building.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tThere. 5RW.\n", "\n", "\tEmil pushes ten of the buzzers except 5RW. A BUZZER clicks\n", "\tand Emil pushes it open.\n", "\n", "\tINT. MILOS' APARTMENT BUILDING - STAIRWELL - DAY\n", "\n", "\tThe brownstone has no elevator so Emil and Oleg climb the\n", "\tstairs... Oleg cradling his camera. Emil notices a crack\n", "\tpipe on the floor and picks it up. Smells the bowl.\n", "\n", "\t\t\t\tOLEG\n", "\t\tWhat?\n", "\n", "\t\t\t\tEMIL\n", "\t\tSmell like chemicals...for smoking\n", "\t\tdrugs.\n", "\n", "\tEmil pockets the pipe and climbs to the top floor, moving\n", "\tdown the dirty hallway to a corner door.\n", "\n", "\tINT. MILOS' APARTMENT BUILDING - HALLWAY - DAY\n", "\n", "\tHe KNOCKS...FOOTSTEPS approach. The door is opened by MILOS -\n", "\ta 40-year-old Czech, dressed in stained plumbers overalls. \n", "\tHe is surprised to see Emil and Oleg in his doorway. Oleg\n", "\tfilms him...\n", "\n", "\t\t\t\tMILOS\n", "\t\tEmil???!\n", "\n", "\t\t\t\tEMIL\n", "\t\tSurprise! Surprise!\n", "\n", "\tMilos shoots a look across the tiny kitchen to TAMINA, his\n", "\tcomely wife.\n", "\n", "\tINT. MILOS' APARTMENT - CONTINUOUS\n", "\n", "\tEmil pushes his way inside. Oleg follows. Milos wears\n", "\tplumbers overalls but Emil notices sports a Rolex. Tamina\n", "\thas on a faded dress but despite their cheaply furnished\n", "\tapartment she wears an expensive brushed gold necklace,\n", "\tbracelet and big pearl earrings. The room is furnished with\n", "\tkitsch from Disney World and Las Vegas. The only anomaly is\n", "\ta HUGE SONY TRINITRON HOME ENTERTAINMENT CENTER. (The\n", "\tfollowing is in Czech and subtitled in English.)\n", "\n", "\t\t\t\tEMIL\n", "\t\tYour sister said she didn't know where\n", "\t\tyou were so you shouldn't write to her\n", "\t\twith return address if you're hiding. \n", "\n", "\t\t\t\tMILOS\n", "\t\tDid you hurt her?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYou know me...I never hurt anybody. \n", "\t\tWhere's the money?\n", "\n", "\t\t\t\tOLEG\n", "\t\tHello, Tamina.\n", "\n", "\tOleg is looking Tamina over. Milos - though scared - barks\n", "\tat Oleg.\n", "\n", "\t\t\t\tMILOS\n", "\t\tTake your eyes off her, Oleg!\n", "\t\t\t(to Emil)\n", "\t\tLook. It wasn't my fault you two were\n", "\t\tcaught.\n", "\t\t\t(of Oleg)\n", "\t\tIt's his fault. Trying to get the bank\n", "\t\tclerk's phone number?! I wasn't going\n", "\t\tto wait!!!\n", "\n", "\t\t\t\tEMIL\n", "\t\tMilos. Get my money!\n", "\n", "\tOleg videotapes the scene.\n", "\n", "\tCLOSE ON AN AJAR DOOR\n", "\n", "\tAll we see behind it is a WOMAN'S FACE and her wet hair - she\n", "\tobviously came from the shower and we see the towel wrapped\n", "\taround her.\n", "\n", "\t\t\t\tMILOS\n", "\t\t\t(nervously)\n", "\t\tWe spent it!\n", "\n", "\t\t\t\tEMIL\n", "\t\tHa. Ha.\n", "\n", "\t\t\t\tMILOS\n", "\t\tLook at the way we live. I'm a plumber. \n", "\t\tYou think I'd be working if I had\n", "\t\tmoney?!\n", "\n", "\tEmil, pissed, moves to a wood block and pulls out a KITCHEN\n", "\tKNIFE. He grabs Tamina roughly, putting the blade to her\n", "\tthroat.\n", "\n", "\t\t\t\tMILOS (CONT'D)\n", "\t\tEmil. Put down the knife.\n", "\n", "\tMilos looks at his wife - who is terrified.\n", "\n", "\t\t\t\tMILOS (CONT'D)\n", "\t\tEmil. I'll help you.\n", "\n", "\tMilos closes the gap between him and Emil - trying to calm\n", "\thim by talking softly.\n", "\n", "\t\t\t\tMILOS (CONT'D)\n", "\t\tI can get you a job.\n", "\n", "\t\t\t\tEMIL\n", "\t\tA job?\n", "\n", "\t\t\t\tMILOS\n", "\t\tYes, the money is good.\n", "\n", "\t\t\t\tEMIL\n", "\t\tAs a plumber?!\n", "\n", "\t\t\t\tMILOS\n", "\t\tIt's easy to learn.\n", "\n", "\t\t\t\tEMIL\n", "\t\tA job?? As a plumber??? You think I\n", "\t\tcome to America to work!\n", "\n", "\t\t\t\tMILOS\n", "\t\tWe started over, you can too.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(furious)\n", "\t\tYou spent all the money while I was in\n", "\t\tprison? Now you tell me to get a job\n", "\t\tfixing toilets?!?\n", "\n", "\tEmil pulls the knife away from Tamina - then angrily PLUNGES\n", "\tit toward Milos' chest!\n", "\n", "\tOleg videotapes it. Then lowers the camera - shocked that\n", "\tEmil killed Milos.\n", "\n", "\tBlood sprays Tamina's face. She tries to run but Oleg grabs\n", "\ther, not noticing her brushed gold bracelet falls to the\n", "\tfloor. He covers her mouth as he points the videocamera at\n", "\tEmil who STABS Tamina - absolutely enraged!\n", "\n", "\tTHE WOMAN BEHIND THE DOOR\n", "\n", "\tflees...Emil hears NOISE in the bedroom - a window opening. \n", "\tEmil kicks the bedroom door open. Sees the window leading to\n", "\tthe fire escape. He dashes to it. Sees four flights down -\n", "\tthe WOMAN, wearing a summer dress. Barefoot. Her hair still\n", "\twet. \n", "\n", "\tShe looks up. She is beautiful and terrified. She runs\n", "\tdown the alley.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tShe saw!\n", "\n", "\tEmil hurries toward the bathroom. She just got out of the\n", "\tshower. Her underwear and purse are draped over a chair. \n", "\tEmil grabs the purse. Finds a CZECHOSLOVAKIAN PASSPORT. He\n", "\topens the cover, stares at her photo and name.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tDaphne Hanlova.\n", "\n", "\tThere's one stamp in the passport - from the U.S. when she\n", "\tarrived - June 16, 1998. Underneath is written - 6 MONTH\n", "\tSTAY. Emil flips through the rest of the passport - all\n", "\tblank pages.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tSix month visa. Still here two years\n", "\t\tlater. They'll deport her if she goes\n", "\t\tto Police.\n", "\n", "\tEmil pockets Daphne's passport and wallet, scoops up her\n", "\tshoes and jacket - enters the kitchen and dumps them on the\n", "\tfloor. He tears through the kitchen cabinets, throwing cans\n", "\tand bottles aside.\n", "\n", "\t\t\t\tOLEG\n", "\t\tWhat are you looking for?\n", "\n", "\tEmil finds nail polish remover - looks at the bodies.\n", "\n", "\t\t\t\tEMIL\n", "\t\tI'm going to make a bohemian barbecue.\n", "\n", "\tEmil draws the kitchen curtains plunging the room into\n", "\tdarkness.\n", "\t\t\n", "\t\tEXT. CENTRAL PARK - NIGHT\n", "\n", "\tA face comes from the darkness. It's an athletically\n", "\thandsome man, jogging out of a tunnel towards us. He's in a\n", "\ttie and jacket in Central Park at NIGHT. \n", "\tHe is JORDAN (JORDY) WARSAW. A sensitive man of rugged\n", "\thonesty. He runs down the hill in a hurry. A MUGGER steps\n", "\tin his path.\n", "\n", "\t\t\t\tMUGGER\n", "\t\tGot any spare change? How 'bout a spare\n", "\t\ttwenty?\n", "\n", "\t\t\t\tJORDY\n", "\t\tLook, I don't have time for you, get out\n", "\t\tof my way!!\n", "\n", "\t\t\t\tMUGGER\n", "\t\tAlright, how 'bout all your fuckin'\n", "\t\tmoney?\n", "\n", "\tThe Mugger pulls a knife - and in a whirl of movement, Jordy\n", "\tgrabs his wrist and disarms him in a deadly, professional\n", "\tmanner - hurling him down to the pavement, twisting his arm\n", "\tbehind his back. With his other hand, Jordy whips out a\n", "\tBROWNING 9MM from his shoulder holster and places it behind\n", "\tthe mugger's head. Jordy displays his shield.\n", "\n", "\t\t\t\tJORDY\n", "\t\tOkay, you're under arrest! Now you\n", "\t\thappy?\n", "\n", "\t\t\t\tMUGGER\n", "\t\tFire Department? Firemen don't carry\n", "\t\tguns.\n", "\n", "\t\t\t\tJORDY\n", "\t\tOh yeah? Guess again.\n", "\n", "\tJordy handcuffs the Mugger and searches the Mugger's coat\n", "\tpockets - pulling out a handful of driver's licenses and\n", "\tcredit cards.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tNice - how many people you ripped off\n", "\t\ttonight?! Get up!\n", "\n", "\tAs Jordy yanks the Mugger to his feet, his BEEPER goes off.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tYou couldn't listen to me, could you?\n", "\n", "\tJordy drags the Mugger to a tree. Cuffs him so his face is\n", "\tpressed up against the bark.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tI'll send a cop back for you.\n", "\n", "\t\t\t\tMUGGER\n", "\t\tHey. C'mon, you can't leave me like\n", "\t\tthis. Some freak'll come by and stab\n", "\t\tme!\n", "\n", "\tJordy jogs off across the park.\n", "\n", "\t\t\t\tMUGGER (CONT'D)\n", "\t\tWait! Come back!!\n", "\n", "\tEXT. MILOS' APARTMENT - NIGHT\n", "\n", "\tFIRE TRUCKS from three battalions. Radios CRACKLE. There's\n", "\ta crowd growing. Jordy pushes his way through. The top\n", "\tfloor of the brownstone where Milos and Tamina lived has been\n", "\treduced to smoking ruins. The trees are covered in debris\n", "\tand soot. Jordy moves to LOUIE - Battalion Chief.\n", "\n", "\t\t\t\tLOUIE\n", "\t\tLieutenant - take up your line and\n", "\t\trelieve Ladder Company 60 on the top\n", "\t\tfloor.\n", "\n", "\t\t\t\tJORDY\n", "\t\tHey, Louie, were you first due?\n", "\n", "\t\t\t\tLOUIE\n", "\t\tYeah, I radioed you guys right away\n", "\t\t'cause you got two roasts on the top\n", "\t\tfloor but you don't hafta investigate\n", "\t\tcause homicide is up there.\n", "\n", "\t\t\t\tJORDY\n", "\t\tHomicide? Who let them up? I didn't\n", "\t\tmake it a crime scene yet.\n", "\n", "\t\t\t\tLOUIE\n", "\t\tHey, it's Eddie Flemming.\n", "\n", "\t\t\t\tKORFIN (O.S.)\n", "\t\tYo, Jordy!\n", "\n", "\tBOBBY KORFIN - an overweight arson investigator with a quick\n", "\twith and good sense of humor - comes over, pulling on a\n", "\tturnout coat.\n", "\n", "\t\t\t\tKORFIN (CONT'D)\n", "\t\tWhere you been, man? We got a\n", "\t\tcelebrity!\n", "\n", "\t\t\t\tJORDY\n", "\t\tI heard. Who the hell let them up\n", "\t\tthere?\n", "\n", "\t\t\t\tKORFIN\n", "\t\tI don't know, you think Eddie will give\n", "\t\tme his autograph?\n", "\n", "\t\t\t\tJORDY\n", "\t\tYou see anything in the crowd? Anybody\n", "\t\tsuspicious?\n", "\n", "\t\t\t\tKORFIN\n", "\t\tNaw - I'm sure the suspect's not here.\n", "\n", "\t\t\t\tJORDY\n", "\t\tOh yeah, why?\n", "\n", "\t\t\t\tKORFIN\n", "\t\t'Cause Eddie woulda locked him up by\n", "\t\tnow!\n", "\n", "\tINT. MILOS' APARTMENT - NIGHT\n", "\n", "\tThe roof is gone. The sky is exposed. It's charred ruins,\n", "\tsmoked beams and watery muck. Eddie and Leon are standing by\n", "\twhat's left of the mattress, looking at Milos and Tamina's\n", "\tcharred bodies. Eddie grips a half-smoked Cuban cigar,\n", "\tlistening to Leon.\n", "\n", "\t\t\t\tLEON\n", "\t\tSo, it looks to me - from the sixty-nine\n", "\t\tposition - that they were doin' each\n", "\t\tother but were so whacked out of their\n", "\t\theads they set the pipe on the mattress,\n", "\t\tlit it up, and they got fried. What do\n", "\t\tyou think, Eddie?\n", "\n", "\tJordy enters - with Korfin who's carrying a paint can.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI don't know. We got the experts here. \n", "\t\tShow them what you found - I hope you\n", "\t\tdon't mind, we came over to see if we\n", "\t\tcould help.\n", "\n", "\tKorfin makes a beeline for Eddie - wanting to meet the\n", "\tcelebrity.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tNah, not at all. Detective Flemming -\n", "\t\tBobby Korfin. My Uncle Tony worked with\n", "\t\tyou at 2-1 back when you were a rookie.\n", "\n", "\t\t\t\tJORDY\n", "\t\tCould you put out the cigar? Part of\n", "\t\tthe job is picking up scents.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tOh, sure.\n", "\n", "\tEddie puts his cigar out. Carefully slides it into a cigar\n", "\tholder and pockets it to finish later.\n", "\n", "\t\t\t\tLEON\n", "\t\tWell, I found - check it out - crack\n", "\t\tpipe. Looks like they got careless.\n", "\n", "\tLeon displays the pipe Emil found on the stairs. Korfin\n", "\tshines the flashlight on Leon to look at the pipe.\n", "\n", "\t\t\t\tLEON (CONT'D)\n", "\t\tMind not shining that light in my eyes?\n", "\n", "\t\t\t\tKORFIN\n", "\t\tSorry, bro.\n", "\n", "\t\t\t\tJORDY\n", "\t\tHey, that's great you guys got it all\n", "\t\twrapped up, but you don't mind if we go\n", "\t\tthrough the routine? It gives us\n", "\t\tsomethin' to do.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tNo, we don't mind. You mind Leon?\n", "\n", "\t\t\t\tLEON\n", "\t\tNo. Go ahead.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThanks. Appreciate it.\n", "\n", "\tJordy throws a look at Korfin. Homicide detectives have no\n", "\trespect for fire marshals' investigative skills. Eddie\n", "\trummages through the apartment - moving into the kitchen and\n", "\tliving room... Leon watches as Korfin sticks a pencil in a\n", "\tcharred beam, measuring how deep in it goes.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tOkay, Jordy - it was a fast fire, we got\n", "\t\tgood patterns - about thirty minutes\n", "\t\told.\n", "\n", "\tJordy moves to one of the corpses. He pulls on a white\n", "\trubber glove. Inserts his finger in the corpses mouth. The\n", "\tglove comes out white.\n", "\n", "\t\t\t\tJORDY\n", "\t\tMouth's clean, too.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tClean?\n", "\n", "\t\t\t\tJORDY\n", "\t\tDon't blow your nose!\n", "\n", "\tJordy's looking at Leon, who was just about to blow his nose.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tThe smoke'll permeate your nostrils -\n", "\t\tburn 'em out. Let it run.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tBut you knew that, right?\n", "\n", "\tLeon looks at Jordy, then lowers the handkerchief. Jordy\n", "\tturns back to the corpses on the bed. Eddie - in the other\n", "\troom - has found Tamina's brushed gold bracelet on the floor.\n", "\n", "\t\t\t\tJORDY\n", "\t\tSo the way you see it, two crack heads\n", "\t\tburned themselves up?\n", "\n", "\t\t\t\tLEON\n", "\t\tThat's what it looks like to me.\n", "\n", "\t\t\t\tJORDY\n", "\t\tAnd while they're burning up, they're\n", "\t\tstill goin' down on each other? You got\n", "\t\tto hand it to them.\n", "\n", "\t\t\t\tLEON\n", "\t\t\t(realizes he's wrong - blows it\n", "\t\t\t off)\n", "\t\tYeah, well, some people got their\n", "\t\tpriorities straight.\n", "\n", "\tLeon watches Jordy, quietly. With a pair of tweezers, Jordy\n", "\tpulls a small unburned piece of cloth from behind one of the\n", "\theads. Korfin supplies the paint can. Jordy drops the cloth\n", "\tinside.\n", "\n", "\t\t\t\tLEON (CONT'D)\n", "\t\tWhat was that?\n", "\n", "\t\t\t\tJORDY\n", "\t\tEvidence. Of a homicide.\n", "\n", "\tThat got Eddie's attention and he comes back to the bedroom.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tYou know what that is, right?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tNo, what is it?\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhy don't you explain it, Bobby.\n", "\t\t\t(to a fireman joking a wall)\n", "\t\tHey Camello! You mind punching a hole\n", "\t\tin the floor?\n", "\n", "\t\t\t\tCAMELLO\n", "\t\tNo problem.\n", "\t\t\t(to Eddie and Leon)\n", "\t\tExcuse me, gentlemen. You might wanna\n", "\t\tback up a little more. Don't wanna get\n", "\t\tyour pants wet.\n", "\n", "\tLeon and Eddie move to higher ground - on top of a burnt TV\n", "\tset. Eddie hands the brushed bracelet to Leon. As Camello\n", "\thacks at the floor with an ax, Jordy continues to examine the\n", "\tbodies and Korfin explains:\n", "\n", "\t\t\t\tKORFIN\n", "\t\tThey have not soot in their mouths,\n", "\t\twhich means they weren't breathin'\n", "\t\tbefore the fire and that usually means\n", "\t\tthey were deceased - and this piece of\n", "\t\tcloth that my partner found means they\n", "\t\twere wrapped up in something, probably\n", "\t\tdoused with a flammable liquid and\n", "\t\tpositioned like this on the bed. To the\n", "\t\tuntrained eye, it looks like an\n", "\t\taccident.\n", "\n", "\tJordy kicks around the draining floor, reaches down for\n", "\tsomething.\n", "\n", "\t\t\t\tLEON\n", "\t\tWhat's he looking for?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tA timer.\n", "\n", "\tJordy finds some wires attached to an outlet, pulls them up -\n", "\ton the other end is a timer. Korfin takes the timer from\n", "\tJordy and moves to Eddie.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tHere you go. A big double homicide.\n", "\n", "\tEXT. MILOS' APARTMENT BUILDING - NIGHT\n", "\n", "\tAs Jordy and Korfin exit the brownstone, a CAMERA CREW is\n", "\tarriving. Jumps out. \n", "\tKorfin and Jordy cross toward Korfin's car. They open the\n", "\ttrunk. Take off their muddy boots throwing them in.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tYou see Eddie's face when I gave him the\n", "\t\ttimer? Wish I had a picture of it.\n", "\n", "\t\t\t\tJORDY\n", "\t\tHe knew all along.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tWhat??\n", "\n", "\t\t\t\tJORDY\n", "\t\tThat's why he was so quiet. He was\n", "\t\ttesting us.\n", "\n", "\tEddie and Leon exit - Eddie carrying a baggie with a timer\n", "\tinside. NICOLETTE KARAS, young and attractive, pushes her\n", "\tmicrophone at Eddie. She's smart, aggressive and respected\n", "\tby her peers.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tDetective, does it look like a murder?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWe don't know that yet. It's much too\n", "\t\tearly. There's a lot to be done.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tHow many victims are up there?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThere are two bodies found at this\n", "\t\tpoint.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tCan we go up to the crime scene?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou know you can't do that. C'mon.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tIs it drug related?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWe don't know. When I have more I'll\n", "\t\tlet you know.\n", "\n", "\tNicolette signals for her camera man, MIKE, to zoom in on\n", "\tEddie's hand. She barrels on...\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tDetective...what's that you're holding\n", "\t\tin your hand? Evidence?\n", "\n", "\tMike pans up to Eddie's face. Other reporters arrive,\n", "\thurling questions which Eddie easily answers. Cameras flash\n", "\tas we PAN BACK TO Korfin and Jordy. Jordy is about to get in\n", "\tthe car as he notices, back behind some construction - DAPHNE\n", "\tHANDLOVA. She's still wearing the crumpled summer dress. \n", "\tShe tentatively steps out to signal Jordy. He only catches a\n", "\tglimpse of her. He starts toward her -- knifes through the\n", "\tcrowd - but Daphne is gone.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tWhat?\n", "\n", "\t\t\t\tJORDY\n", "\t\tThere was a woman - I think she wanted\n", "\t\tto talk to us. She looked scared. Oh\n", "\t\tshit! Oh no!\n", "\n", "\tEXT. CENTRAL PARK - LATER\n", "\n", "\tKorfin's car SCREECHES to a stop. Jordy leaps out. \n", "\tSuddenly, Jordy stops...the Mugger handcuffed to the tree is\n", "\tnow NAKED!\n", "\n", "\t\t\t\tMUGGER\n", "\t\tYou motherfuckin' bastard! She stripped\n", "\t\tme! It was a bag lady! She touched me\n", "\t\tall over, it was disgusting.\n", "\n", "\tJordy unlocks the handcuffs.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'm sorry. I'm really sorry.\n", "\n", "\tKorfin delivers a blanket. Jordy covers him.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tYou okay?\n", "\n", "\t\t\t\tMUGGER\n", "\t\tA dog pissed on me!! I'm gonna sue you\n", "\t\tfor this! You violated my civil rights!\n", "\n", "\t\t\t\tJORDY\n", "\t\tYour civil rights?! You tried to rob\n", "\t\tme! I could arrest you right now! \n", "\t\tYou're lucky you're walking away from\n", "\t\tthis. Now get outta here.\n", "\n", "\tJordy gives him a push. The Mugger wraps the blanket around\n", "\thimself cursing - hurrying away.\n", "\t\t\n", "\n", "\tEXT. 8TH AVENUE - NIGHT\n", "\n", "\tExhausted HOOKERS who have worked all night loiter outside a\n", "\tsleazy hotel. CAMERA PANS up to a blinking hotel sign.\n", "\n", "\tINT. KING EDWARD HOTEL ROOM - NIGHT\n", "\n", "\tThe light is blinking an eerie green and yellow light into\n", "\tthe room. Emil is at the window pulling the blind down\n", "\ttrying to shut out the blinking light. He pulls it down\n", "\ttwice and it pops back up both times. The third time he\n", "\tangrily pulls it so hard, it comes off the window completely. \n", "\tHe sits down in a chair in frustration - adjusting a pillow\n", "\tbehind his back. THE ROSEANNE SHOW is on TV. Roseanne has\n", "\tbeen talking to a FATHER.\n", "\n", "\t\t\t\tROSEANNE (ON T.V.)\n", "\t\tSo you slept with your son's wife! \n", "\t\tWhat's that all about?\n", "\n", "\t\t\t\tFATHER (ON T.V.)\n", "\t\tI take full responsibility for sleepin'\n", "\t\twith my daughter in law. I had low self\n", "\t\testeem, I thought I had to compete with\n", "\t\thim.\n", "\n", "\tEmil reaches for his dictionary.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(mutters)\n", "\t\tSelf-esteem? Self-esteem??\n", "\n", "\tHe flips through his dictionary to find the meaning of self\n", "\testeem.\n", "\n", "\t\t\t\tFATHER (ON T.V.)\n", "\t\tLosin' my job and everything, caused my\n", "\t\tbehavioral disorder.\n", "\t\t\t(turns to his son)\n", "\t\tForgive me, Kirk. Let me hug you?\n", "\n", "\tThe audience boos. Roseanne mediates...\n", "\n", "\tOleg - fresh from the shower with wet hair - sits on the bed\n", "\tin his skivvies - staring into the videocamera's LCD screen -\n", "\trewinding Milos' murder. We see it now for the first time -\n", "\tas he rewinds it. Oleg watches - a bottle of cheap vodka\n", "\tbetween his legs. Emil, looks up from his dictionary. He's\n", "\twearing Milos' Rolex. \n", "\tTamina's jewelry - her brushed gold necklace and pearl\n", "\tearrings - are in front of him with Daphne's wallet. Emil\n", "\tlooks up - Oleg is holding his videocamera.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(Czech)\n", "\t\tTurn that fucking thing off!\n", "\n", "\t\t\t\tOLEG\n", "\t\t\t(Czech)\n", "\t\tI'm not filming. I'm watching Milos\n", "\t\tdie. It's just like a move but realer.\n", "\n", "\tEmil grabs the videocamera.\n", "\t\t\t(Czech)\n", "\t\tDon't break it! Don't break it!\n", "\n", "\t\t\t\tEMIL\n", "\t\tSpeak English!\n", "\n", "\t\t\t\tOLEG\n", "\t\t\t(English)\n", "\t\tYou said speak Czech!\n", "\n", "\t\t\t\tEMIL\n", "\t\tHow you erase this?\n", "\n", "\t\t\t\tOLEG\n", "\t\tI'll do it. Don't hurt my camera!\n", "\n", "\tEmil tosses the camera back to Oleg who drops his vodka\n", "\tbottle in order to catch the camera. Oleg, holding the\n", "\tcamera like it's gold, goes to the dresser and puts it away. \n", "\tEmil starts to go through Daphne's wallet.\n", "\n", "\t\t\t\tEMIL\n", "\t\tStupid, Milos. I didn't want to kill\n", "\t\thim.\n", "\t\t\t(noticing)\n", "\t\tWhat's this?\n", "\n", "\tEmil found the last card in the wallet. It's pink with a\n", "\tpicture of a busty globe. Printed in the middle is - WORLDLY\n", "\tESCORTS - and a number.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tWorldly escorts?\n", "\n", "\tEmil picks up his dictionary and begins to flip the pages -\n", "\tfinding the meaning of worldly. He gets up and dials the\n", "\tnumber. A soft, SEXY VOICE answers. Soft music in the\n", "\tbackground.\n", "\n", "\t\t\t\tSEXY VOICE\n", "\t\tHi?\n", "\n", "\t\t\t\tEMIL\n", "\t\tHello?\n", "\n", "\t\t\t\tSEXY VOICE\n", "\t\tAre you looking for companionship?\n", "\n", "\tOleg, who's listening, moves to Emil.\n", "\n", "\t\t\t\tOLEG\n", "\t\tWhore?\n", "\n", "\t\t\t\tEMIL\n", "\t\tI'm homesick. You have Eastern European\n", "\t\tgirl? A Czech girl?\n", "\n", "\t\t\t\tSEXY VOICE\n", "\t\tMatter of fact, I have a lovely Czech\n", "\t\tgirl.\n", "\n", "\t\t\t\tEMIL\n", "\t\tI take her. Send her!\n", "\n", "\tEXT. FIRE STATION 91 - NIGHT\n", "\n", "\tKorfin's car pulls up to the station - as a fire engine is\n", "\treturning.\n", "\n", "\t\t\t\tJORDY\n", "\t\tNow that you know him, maybe you can get\n", "\t\textra work in the next movie they make\n", "\t\tabout him.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tYeah?\n", "\n", "\t\t\t\tJORDY\n", "\t\tMaybe you can be his stand-in.\n", "\n", "\tINT. FIRE STATION 91 - NIGHT\n", "\n", "\tThe men are pulling off their equipment - coming down from\n", "\tthe high of fighting a fire. Korfin and Jordy walk toward\n", "\tthe TV room. The TV is on in the background. We can see\n", "\tNicolette interviewing Eddie. He holds up the paint can.\n", "\n", "\t\t\t\tCHIEF DUFFY (O.S.)\n", "\t\tWhat the hell is that?? You gave Eddie\n", "\t\tFlemming the evidence?!\n", "\n", "\tThey turn. DEPUTY CHIEF FIRE MARSHAL DECLAN DUFFY - the head\n", "\tof the arson squad - comes over. Duffy's tough, Irish and\n", "\tvery political.\n", "\n", "\t\t\t\tDUFFY\n", "\t\t\t(pointing to the TV)\n", "\t\tWho did cause and origin?\n", "\n", "\t\t\t\tJORDY\n", "\t\tWho do you think, Chief?!\n", "\n", "\t\t\t\tDUFFY\n", "\t\tThen why didn't you talk to the\n", "\t\treporter?\n", "\n", "\t\t\t\tJORDY\n", "\t\t'Cause we got more important things to\n", "\t\tdo, like finding out who did it.\n", "\n", "\tThey walk to the back of the station and start up the stairs.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tDon't you guys understand? It's all\n", "\t\tabout image. The better we look the\n", "\t\tmore money I get to pay you guys\n", "\t\tovertime.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tYeah, right.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tWhat was that, Korfin?\n", "\n", "\t\t\t\tKORFIN\n", "\t\tI said, yeah, you're right, Chief. As\n", "\t\tsoon as we get somethin' we'll let you\n", "\t\talert the media.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tYou do that, wiseguy. Now let's solve\n", "\t\tthis thing before Eddie Flemming does.\n", "\n", "\tThey all head upstairs.\n", "\n", "\tINT. ARSON SQUAD ROOM - DAY\n", "\n", "\tThe Chief, Jordy and Korfin enter. There are posters of\n", "\tpyros, arsonists and terrorists on the walls. GARCIA - a\n", "\tPuerto Rican investigator - looks up from his desk.\n", "\n", "\t\t\t\tGARCIA\n", "\t\tHey guys, I got your torch. He just\n", "\t\tgave a full confession.\n", "\n", "\tA scruffy, unshaven white man sitting across from Garcia,\n", "\tturns. He is MAX, a pyromaniac in his 40's with a freshly\n", "\tscratched cross etched in his forehead. He craves attention.\n", "\n", "\t\t\t\tMAX\n", "\t\tIt's my fire! Screw homicide. I'll\n", "\t\ttell you guys everything!\n", "\n", "\tJordy moves to his desk with Korfin. They sit across from\n", "\teach other. Duffy keeps going to his office, not even\n", "\tbothering to stop.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhat's that on your forehead, Max? \n", "\t\tThat's a nice attention getter.\n", "\n", "\t\t\t\tMAX\n", "\t\tYeah, I'm religious. I'm not an Atheist\n", "\t\tlike you! Now, are you guys gonna\n", "\t\tarrest me, or not?\n", "\n", "\t\t\t\tJORDY\n", "\t\tHow did you start the fire this time?\n", "\n", "\t\t\t\tMAX\n", "\t\tI used an accelerant.\n", "\n", "\t\t\t\tJORDY\n", "\t\tYeah? What kind?\n", "\n", "\t\t\t\tMAX\n", "\t\t\t(to Jordy)\n", "\t\tHey, by the way, I'm really sorry about\n", "\t\tyour wife leavin' you.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tMax.\n", "\n", "\t\t\t\tMAX\n", "\t\t\t(continuing)\n", "\t\t...Yeah, and with your old man dying\n", "\t\tlast year you - what's it? Just you and\n", "\t\tthe dog now?\n", "\n", "\t\t\t\tKORFIN\n", "\t\tMax! \n", "\n", "\t\t\t\tMAX\n", "\t\tDoes it feel bad - I mean the new guy\n", "\t\tyour ex-wife's seeing - I hear he's a\n", "\t\tbig shot downtown.\n", "\n", "\tJordy pops out of his seat.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThat's it! You're outta here.\n", "\n", "\tJordy pulls Max by the collar - pushes him down the aisle.\n", "\n", "\t\t\t\tMAX\n", "\t\tThat's it. I'm suing.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tGet in line.\n", "\n", "\tKorfin takes over - throwing him out. Jordy turns to Garcia\n", "\twho is laughing.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhat's so funny. How does he know so\n", "\t\tmuch about me? Who tells him my life\n", "\t\tstory?\n", "\n", "\t\t\t\tGARCIA\n", "\t\tHe hangs around downstairs. The guys\n", "\t\ttalk to him. He's a joke...\n", "\n", "\t\t\t\tJORDY\n", "\t\tHe's no joke! One day he's gonna\n", "\t\tgraduate from trash can fires and do\n", "\t\tsomething big.\n", "\n", "\t\t\t\tGARCIA\n", "\t\tOkay. Okay. We'll ban him from the\n", "\t\tstation.\n", "\n", "\tINT. KING EDWARD HOTEL ROOM - TV SET - NIGHT\n", "\n", "\tAs the \"Top Story\" logo is splashed across the screen,\n", "\taccompanied by a catchy TV THEME, Robert Hawkins introduces\n", "\tAmerica's highest rated 'news magazine' show.\n", "\n", "\t\t\t\tROBERT HAWKINS\n", "\t\tGood evening, I'm Robert Hawkins and\n", "\t\tthis is Top Story. Tonight we bring you\n", "\t\tan exclusive interview with Stephen\n", "\t\tGeller - who horrified the nation two\n", "\t\tyears ago when he went berserk and\n", "\t\tmurdered three clerks in a Manhattan\n", "\t\tshoe store. But now, Mr. Geller's\n", "\t\tclaim, spoken softly and articulately,\n", "\t\tis that he is the victim. According to\n", "\t\tMr. Geller, the events of that fateful\n", "\t\tday were not his fault but were the\n", "\t\tfault of his psychiatrist. Hard to\n", "\t\tbelieve...watch.\n", "\n", "\t\t\t\tEMIL (O.S.)\n", "\t\tLouder.\n", "\n", "\tVIDEOCAMERA SLOWLY ZOOMS OUT and PANS over to Emil, sitting\n", "\ton the hotel bed watching the TV. He looks at us.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tLouder.\n", "\n", "\tOleg's hand reaches in front of the lens - turning up the\n", "\tvolume. The scene cuts back to Stephen Geller being\n", "\tinterviewed by Robert Hawkins and his camera crew. He's\n", "\tsitting on the front lawn of a mental institution in a paint\n", "\tstained shirt. A showing of his artwork is displayed in the\n", "\tbackground. Patients peruse the paintings of weird\n", "\tdysfunctional faces that avoid eye contact. One of the\n", "\tpaintings depicts Eddie Flemming and Leon Jackson.\n", "\n", "\t\t\t\tSTEPHEN GELLER\n", "\t\tThis had nothing to do with shoes that\n", "\t\tdidn't fit or my relationship with my\n", "\t\tfather who, as you know, made a fortune\n", "\t\tselling penny loafers in the fifties. \n", "\t\tThese people died because of the\n", "\t\tcriminal actions of my doctor.\n", "\n", "\t\t\t\tROBERT HAWKINS\n", "\t\tYour doctor?\n", "\n", "\t\t\t\tSTEPHEN GELLER\n", "\t\tYes. My psychiatrist didn't insist that\n", "\t\tI stay on my medication.\n", "\n", "\t\t\t\tROBERT HAWKINS\n", "\t\t...so you feel absolutely no\n", "\t\tresponsibility for killing these people?\n", "\n", "\t\t\t\tSTEPHEN GELLER\n", "\t\tIt was my finger that pulled the\n", "\t\ttrigger, but I'm not morally\n", "\t\tresponsible. My psychiatrist knew what\n", "\t\tI was capable of. How could I know. \n", "\t\tI'm not a doctor.\n", "\n", "\t\t\t\tROBERT HAWKINS\n", "\t\tYou seem very savvy for a man who's been\n", "\t\tfound mentally incompetent to stand\n", "\t\ttrial.\n", "\n", "\t\t\t\tSTEPHEN GELLER\n", "\t\tLook, I'm a victim here, too. I was a\n", "\t\tyear away from getting my masters in\n", "\t\tArt, now I'll never graduate. My life\n", "\t\thas been permanently disrupted.\n", "\n", "\t\t\t\tROBERT HAWKINS\n", "\t\tPermanently disrupted? Aren't you\n", "\t\tselling paintings now for quite a lot of\n", "\t\tmoney? Hasn't this 'incident' as you\n", "\t\tcall it, jump started your career as an\n", "\t\tartist?\n", "\n", "\t\t\t\tSTEPHEN GELLER\n", "\t\tLook, I'm in here. You call this a\n", "\t\tcareer move?\n", "\n", "\t\t\t\tROBERT HAWKINS\n", "\t\tAnd isn't there a movie in the works\n", "\t\tabout you?\n", "\n", "\t\t\t\tSTEPHEN GELLER\n", "\t\tWe're in negotiations, that's correct.\n", "\n", "\t\t\t\tROBERT HAWKINS\n", "\t\tBut doesn't the Son of Sam Law prevent\n", "\t\tcriminals from profiting from their\n", "\t\tcrimes?\n", "\n", "\t\t\t\tSTEPHEN GELLER\n", "\t\tThat doesn't apply to me because I'm not\n", "\t\ta criminal. I'm not a criminal! I\n", "\t\twasn't convicted.\n", "\n", "\tEmil leans forward - listening. Fascinated.\n", "\n", "\t\t\t\tEMIL\n", "\t\tI love America. No one is responsible\n", "\t\tfor what they do.\n", "\n", "\tThere's a KNOCK on the door. Our VIDEOCAMERA POV swings over\n", "\tto it. Then WHIPS back to Emil. Emil looks at us.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tGet in the bathroom!\n", "\n", "\t\t\t\tOLEG (O.S.)\n", "\t\tWhatever we do - we fuck her, right?\n", "\n", "\t\t\t\tEMIL\n", "\t\tOleg, get in bathroom, stay there and\n", "\t\tshut up!\n", "\n", "\tEmil turns off the TV. Our POV backs into the bathroom,\n", "\tclosing the door but leaving it open a crack. Emil looks\n", "\tdown at his shoe. The POV PANS down to the kitchen knife\n", "\tsticking out of Emil's BOOT. Emil's hands pull his pants\n", "\tcuff over it. POV PANS up to Emil as he moves to the door\n", "\tand opens it. It's not Daphne and she's not world class.\n", "\n", "\t\t\t\tHONEY\n", "\t\tHi, I'm Honey.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhere's Czech girl?\n", "\n", "\t\t\t\tHONEY\n", "\t\tBaby, I'm anybody you want me to be. \n", "\t\tI'm a little schoolgirl, I'm mommy, I'm\n", "\t\ta Czech girl.\n", "\n", "\tShe enters. Closes the door behind her.\n", "\n", "\t\t\t\tHONEY (CONT'D)\n", "\t\tNow I like to get business out of the\n", "\t\tway before we get down to pleasure. Why\n", "\t\tdon'tchya put my money on the dresser.\n", "\n", "\t\t\t\tEMIL\n", "\t\tI ordered a Czech girl. Daphne, you\n", "\t\tknow her?\n", "\n", "\tOleg ZOOMS in for a CLOSE UP of Honey. During the rest of\n", "\tthe scene Oleg films her. Honey begins to undress.\n", "\n", "\t\t\t\tHONEY\n", "\t\tIt's an outcall service run out of an\n", "\t\tapartment. I don't meet the other\n", "\t\tgirls. Aren't you gonna get undressed?\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhere is escort service?\n", "\n", "\t\t\t\tHONEY\n", "\t\tThat's confidential. Could you put the\n", "\t\tmoney on the dresser?\n", "\n", "\t\t\t\tEMIL\n", "\t\tI like to talk to the person who runs\n", "\t\tthe service. Can you give me address?\n", "\n", "\t\t\t\tHONEY\n", "\t\tLook. Do we have a problem here? \n", "\t\tThere's no reason to have a problem. \n", "\t\tI'm gonna make you feel real good. You\n", "\t\twanna Czech girl? \n", "\t\tAfter I'm done with you, you won't miss\n", "\t\ther. Now why don't you pay me?\n", "\n", "\tShe starts to unfasten Emil's belt.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(stopping her)\n", "\t\tListen to me. I don't want sex. Just\n", "\t\tgive me the address and then you go.\n", "\n", "\t\t\t\tHONEY\n", "\t\t\t(suddenly hard as nails)\n", "\t\tLook, man, I don't give a shit if you\n", "\t\twant sex or not, but you're payin' for\n", "\t\tmy time.\n", "\n", "\tEmil pulls the knife out of his boot and SHOVES her against\n", "\tthe door, PUSHING the blade against her throat - suddenly\n", "\tfurious like he was before killing Milos and Tamina.\n", "\n", "\t\t\t\tEMIL\n", "\t\tGive me the address!!\n", "\n", "\t\t\t\tHONEY\n", "\t\tAlright, alright - don't hurt me! \n", "\t\tPlease, it's in my book, in my purse!\n", "\n", "\tEmil backs off as she reaches for her purse, and comes out\n", "\twith a can of mace, SPRAYING Emil's face!\n", "\n", "\tEmil stumbles backwards - Oleg holding him in the frame. He\n", "\tWHIP PANS back to Honey as she grabs her clothes, unlocking\n", "\tthe door but Emil's HAND SLAMS it shut! Emil turns blindly,\n", "\trubbing his burning eyes - guarding the door. Honey darts\n", "\ttoward the bathroom - she pushes open the door and runs into\n", "\tOleg who is VIDEOTAPING HER. Horrified, she turns around as\n", "\tEmil SMASHES her in the face so hard she topples backwards,\n", "\ttripping into the bathtub, pulling the shower curtain down on\n", "\ther! Like a panther out for the kill, Emil POUNCES. Oleg\n", "\tfilms as Emil lifts his hand, gripping...\n", "\n", "\tTHE KITCHEN KNIFE\n", "\n", "\tAs Emil's hand comes FLYING DOWN - then RISES UP, BLOODIED. \n", "\tHer screams are muffled by the shower curtain wrapped around\n", "\ther face. Oleg films the scene as the knife plunges DOWN\n", "\tINTO:\n", "\t\t\n", "\t\tINT. FIRE STATION 91 - ARSON SQUAD ROOM - NIGHT\n", "\n", "\tDAPHNE, a sketch of her face.\n", "\n", "\t\t\t\tJORDY (O.S.)\n", "\t\tHer lips are fuller than that. You can\n", "\t\tsee 'em a mile away.\n", "\n", "\tWIDER\n", "\n", "\tFood containers are scattered all over the place. The female\n", "\tCOMPOSITE ARTIST looks at Jordy. Stacks of failed sketches\n", "\tsit beside her.\n", "\n", "\t\t\t\tCOMPOSITE ARTIST\n", "\t\tWhat about her cheek bones?\n", "\n", "\t\t\t\tJORDY\n", "\t\tHer cheek bones are prominent and her\n", "\t\teyes were huge. Big, blue eyes and when\n", "\t\tI saw her, she looked scared. Like she\n", "\t\twas looking to get away. But she was\n", "\t\tabsolutely beautiful.\n", "\n", "\tThe composite artist looks at Jordy.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tI gotta good look at her.\n", "\n", "\tKorfin has his chair turned around from his desk and is\n", "\twatching the sketch evolve as he speaks on the phone to the\n", "\tlandlord of the 7th Street brownstone. Garcia is also on the\n", "\tphone. The other investigators are gone. Working late into\n", "\tthe night. Everybody's exhausted. It's almost dawn.\n", "\n", "\t\t\t\tKORFIN\n", "\t\t-- From Czechoslovakia? And how long\n", "\t\thave they been livin' in your building? \n", "\t\t\t(writes 4 YEARS on his pad)\n", "\t\tAlright, I'll be in touch when we know\n", "\t\tsomethin'.\n", "\t\t\t(to Jordy)\n", "\t\tMilos and Tamina Karlova. They were\n", "\t\tquiet and kept to themselves. Landlord\n", "\t\tdon't know who your girl is.\n", "\n", "\t\t\t\tJORDY\n", "\t\tHow long they been livin' here?\n", "\n", "\t\t\t\tKORFIN\n", "\t\tYou hear that question, Garcia?\n", "\n", "\t\t\t\tGARCIA\n", "\t\tYeah, I got Immigration on the phone -\n", "\t\tthey've been here illegally.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tWell, they're definitely permanent\n", "\t\tresidents now.\n", "\n", "\t\t\t\tGARCIA\n", "\t\tI got the owner of the plumbing company\n", "\t\tMilos worked for.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tWhy don't we get some sleep and we'll go\n", "\t\tsee him in the morning.\n", "\n", "\t\t\t\tJORDY\n", "\t\tYou go home. I'm takin' your car and\n", "\t\tgoin' back to the crime scene.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tAren't you tired?\n", "\n", "\t\t\t\tJORDY\n", "\t\tIf I go home I won't be able to fall\n", "\t\tasleep anyway.\n", "\n", "\tJordy takes the sketch of Daphne which isn't a bad likeness\n", "\tand heads for the door. Korfin falls in behind him. As they\n", "\tpass Garcia he hands Jordy the address.\n", "\n", "\t\t\t\tKORFIN\n", "\t\t\t(of the picture)\n", "\t\tShe keepin' you up? Like to meet her,\n", "\t\thuh? She'd make you forget your ex\n", "\t\twife. Cure your insomnia.\n", "\n", "\tINT. MILOS' APARTMENT - DAWN\n", "\n", "\tCAMERA DESCENDS FROM THE SKY picking up Jordy as he enters\n", "\twhat is left of Milos and Tamina's apartment. The roof has\n", "\tbeen burned off. He moves into the next room, trying to see\n", "\tthrough the darkness - looking through the muck and char.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tOkay to smoke?\n", "\n", "\tJordy turns, surprised. Eddie sits on a singed chair. He\n", "\tpours from a half-pint bottle of vodka into his 'won ton\n", "\tsoup' container, smoking a cigar. On the arm of the armchair\n", "\tis a brown legal folder and stacks of photographs of the\n", "\tcrime scene and the burned bodies.\n", "\n", "\t\t\t\tJORDY\n", "\t\tIt's your crime scene now. You can do\n", "\t\twhat you want.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWatch the news?\n", "\n", "\t\t\t\tJORDY\n", "\t\tNah, I musta missed it.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWell, just so you know. I gave you guys\n", "\t\tthe credit.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWell, just so you know, I don't care\n", "\t\tabout that stuff.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tNah, why should you?\n", "\n", "\t\t\t\tJORDY\n", "\t\tI don't even watch TV.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tGood. Good. Commendable.\n", "\n", "\tEddie knocks his 'won ton soup' back.\n", "\n", "\t\t\t\tJORDY\n", "\t\tDid you get a report from the M.E.?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tSure. But I would like to ask you\n", "\t\tsomething. You got a problem with me?\n", "\n", "\t\t\t\tJORDY\n", "\t\tIf you found me steppin' on your crime\n", "\t\tscene - it might piss you off, too.\n", "\t\t\t(then)\n", "\t\tWhat about the report?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou were right, they were both dead\n", "\t\tbefore the fire. The male was stabbed\n", "\t\tso hard the killer broke off the tip of\n", "\t\tthe knife in his spine. That's usually\n", "\t\tan indicator of something personal.\n", "\n", "\tJordy pulls out a sketch of Daphne. Hands it to Eddie.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThe Super said he'd seen her before but\n", "\t\tshe didn't live here.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tPretty.\n", "\n", "\t\t\t\tJORDY\n", "\t\t\t(acts as if he didn't notice)\n", "\t\tHmmmm.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tMaybe you don't care about that either.\n", "\t\t\t(beat)\n", "\t\tPrettiest suspect I've had in awhile.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWho says she's a suspect?\n", "\n", "\tJordy tries to take the sketch back. Eddie holds on.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWhat would you call her?\n", "\n", "\t\t\t\tJORDY\n", "\t\tLook, I'm not even sure she has anything\n", "\t\tto do with this. I saw her outside\n", "\t\tafter the fire - thought it was a lead. \n", "\t\tMaybe she saw something. Maybe she was\n", "\t\tvisiting somebody here. Who knows?\n", "\n", "\tEddie walks up to the burnt mattress - where the bodies were.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tObviously they weren't having sex. As\n", "\t\tyou pointed out. So why go through all\n", "\t\tthe trouble of putting 'em like that?\n", "\n", "\tEddie passes a crime scene photo of the bodies to Jordy.\n", "\n", "\t\t\t\tJORDY\n", "\t\tMaybe it's a ritual thing or someone\n", "\t\ttrying to send a message. Burial rites\n", "\t\tare taken very seriously in Eastern\n", "\t\tEurope. It could be to humiliate them. \n", "\t\tJust burning them up, no proper funeral,\n", "\t\tit's like condemning them to hell.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tEastern Europe. Like what? Romania? \n", "\t\tHungary?\n", "\n", "\t\t\t\tJORDY\n", "\t\tOr Czechoslovakia. The Slavs have been\n", "\t\tfighting the Germans and the Russians\n", "\t\tfor a thousand years. These are very\n", "\t\tintense people and they take things\n", "\t\tpersonally.\n", "\n", "\tEddie's cellular rings - he grabs it.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYeah? Where? You sure it was a knife? \n", "\t\tUh-huh. Really? Okay.\n", "\t\t\t(to Jordy)\n", "\t\tWe've got another murder - in a hotel on\n", "\t\tEighth Avenue. A stabbing. Clerk said\n", "\t\tthe room was rented by a Russian...\n", "\n", "\tEddie's moving with Daphne's sketch. \n", "\n", "\t\t\t\tJORDY\n", "\t\tI'll come with you.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThere wasn't a fire. There'll be\n", "\t\tnothing for you to do.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI can watch you, Eddie. Maybe I'll\n", "\t\tlearn something.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThis isn't homicide school.\n", "\n", "\t\t\t\tJORDY\n", "\t\tMy parents are from Poland. I can help\n", "\t\twith the Eastern European angle.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou're Polish?\n", "\n", "\t\t\t\tJORDY\n", "\t\tMy folks are.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tStay here.\n", "\t\t\t\t\t\t\n", "\n", "\tEXT. TIMES SQUARE - NEWS STAND - DAY\n", "\n", "\tVideo POV of the news stand as a hand reaches into frame and\n", "\tpicks up a copy of THE NEW YORK POST. Eddie's photo is on\n", "\tthe front page - holding the kitchen timer by the wires. \n", "\tUnderneath his picture the caption reads, \"DOUBLE HOMICIDE...\n", "\tFLEMMING'S ON IT.\" The videocamera widens out revealing Emil\n", "\tstanding in front of a Times Square news stand, reading the\n", "\tfront page. The videocamera turns around - until focusing on\n", "\tOleg himself.\n", "\n", "\t\t\t\tOLEG\n", "\t\tThis is second day in America. First\n", "\t\tday was very exciting. Full of thrills\n", "\t\tand chills. Over there, is co-star of\n", "\t\tmy new movie, Emil!\n", "\n", "\tHe turns the camera around - FILMING EMIL.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(to vendor)\n", "\t\tWho is he?\n", "\n", "\t\t\t\tVENDOR\n", "\t\tNew York's finest. This is his case.\n", "\n", "\tThe VENDOR - picks up People. Stephen Geller is on the\n", "\tcover.\n", "\n", "\t\t\t\tVENDOR (CONT'D)\n", "\t\tThis all you want? \n", "\n", "\t\t\t\tEMIL\n", "\t\tDo you know how much killer gets for\n", "\t\tmovie rights?\n", "\n", "\t\t\t\tVENDOR\n", "\t\t\t(People)\n", "\t\tIn here, says he wants a million.\n", "\n", "\t\t\t\tEMIL\n", "\t\tMillion?! The killer gets one million\n", "\t\tdollars for a television interview?\n", "\n", "\t\t\t\tVENDOR\n", "\t\tHey, tabloids paid Ted Bundy - famous\n", "\t\tserial killer - half a million for his\n", "\t\tinterview. And how much you think\n", "\t\tMonica got for writing book about the\n", "\t\tPresident coming on to her? It pays to\n", "\t\tbe a killer or a whore in this country. \n", "\t\tLook, you want magazine or not?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYes. Both.\n", "\n", "\t\t\t\tOLEG\n", "\t\tAnd these.\n", "\n", "\tOleg picks up FILM COMMENT, MOVIELINE and PREMIERE magazine. \n", "\tEmil pays for everything.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(to Oleg)\n", "\t\tGet a taxi.\n", "\n", "\tOleg tucks the magazines in his coat, picks up the suitcases\n", "\tand hails a taxi. As Emil collects his change he sees an old\n", "\tBLIND WOMAN waiting at the crosswalk. The light's blinking\n", "\tWALK.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tLet me help.\n", "\n", "\tEmil gently takes her arm and crosses her to the other side.\n", "\n", "\t\t\t\tBLIND WOMAN\n", "\t\tThank you, son.\n", "\n", "\tEmil watches her walk on.\n", "\n", "\tINT. KING EDWARD HOTEL ROOM - DAY\n", "\n", "\tThe hotel room is a hive of activity. GIL is dusting the\n", "\tdresser for prints. Another officer is stripping the bed and\n", "\tputting the bedding into a big, clear plastic bag. As Eddie\n", "\tenters the crime scene, a POLICE PHOTOGRAPHER is standing in\n", "\tthe doorway taking pictures.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWhere is she?\n", "\n", "\t\t\t\tLEON\n", "\t\tTakin' a bath.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAny I.D.?\n", "\n", "\t\t\t\tLEON\n", "\t\tStill unknown but we're running prints. \n", "\t\tKid over there caught the case.\n", "\n", "\tJordy enters. Leon steps in his way.\n", "\n", "\t\t\t\tLEON (CONT'D)\n", "\t\tSorry...PD only.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tIt's okay.\n", "\n", "\tEddie walks over to a young detective. TOMMY CULLEN, only\n", "\t26, is excited to meet Eddie.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tTommy Cullen. Heard a lot about you. \n", "\t\tNice to meet you. Here's what we got. \n", "\t\tA girl in there, figure her to be a\n", "\t\tprostitute, looks like she was fighting\n", "\t\tfor her life. She's got defense wounds\n", "\t\ton her hands. Right this way - in the\n", "\t\tbathroom.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAfter you.\n", "\n", "\tEddie follows Tommy into the bathroom. There's blood\n", "\tsplattered all over the walls and the floor. Honey's topless\n", "\tbody lies in the tub tangled in the bloody shower curtain. \n", "\tMURPHY, an Irish medical examiner (M.E.), is examining the\n", "\tbody.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tRoom was registered to a Francis Capra.\n", "\n", "\t\t\t\tJORDY\n", "\t\tCapra? That's not Czech or Russian. \n", "\t\tWho said he sounded Russian?\n", "\n", "\t\t\t\tTOMMY\n", "\t\tThe clerk?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tCheck the switchboard, see what phone\n", "\t\tcalls were made from this room.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tI'll do it.\n", "\n", "\tTommy heads out. Eddie takes out his cigar holder. Slides\n", "\tout what's left of his cigar. Re-lights it. Looks down at\n", "\tHoney's body in the bathtub. Gil's dusting the tub for\n", "\tprints.\n", "\n", "\t\t\t\tMURPHY\n", "\t\tClothes were off in the other room. Tub\n", "\t\tis dry except for the blood.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAny of you guys take a piss lately?\n", "\n", "\tGil looks confused. Eddie points to the toilet. Seat is up.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tDo the seat for me.\n", "\n", "\tGil crosses to the toilet and starts to dust it. Eddie\n", "\tstands in the bathroom - studying the scene. Holding the\n", "\tunlit cigar. Looking around at the blood splattered walls.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tOnly one guys checked in?\n", "\n", "\t\t\t\tLEON\n", "\t\tYeah.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tC'mere. You wanna go to homicide\n", "\t\tschool? Here - make yourself useful.\n", "\n", "\tEddie positions Jordy behind the tub next to the wall.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tOur killer...our killer's standing here\n", "\t\tslashing at her. She's fightin' him. \n", "\t\tThe blood is splattering this way. It's\n", "\t\ton this wall...\n", "\t\t\t(pointing to the right of\n", "\t\t\t Jordy)\n", "\t\tAnd there's some specks over here.\n", "\t\t\t(to the left of Jordy)\n", "\t\tThere's nothing here because someone was\n", "\t\tstanding right here. Someone big. And\n", "\t\the's got blood on him. Lots of blood. \n", "\t\tHe wouldn't walk out of here like that.\n", "\t\t\t(turning to Murphy)\n", "\t\tMurphy, what kind of knife you think\n", "\t\twe're talking about here?\n", "\n", "\tMurphy pulls out a clear plastic ruler and walks over to the\n", "\tblood-splattered wall.\n", "\n", "\t\t\t\tMURPHY\n", "\t\tIf you look here where he missed and hit\n", "\t\tthe wall you see that the marks aren't\n", "\t\tdeep but they're kinda wide... not your\n", "\t\teveryday kitchen or pocket knife.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWhat if the tip was broken off?\n", "\n", "\t\t\t\tMURPHY\n", "\t\tCould be. Then we should find it here\n", "\t\tsomewhere.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI think we've already found it.\n", "\n", "\tEddie exchanges a look with Jordy as Tommy, the young\n", "\tdetective, returns.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tThere was only one call from this room\n", "\t\tlast night. I dialed it. It's an\n", "\t\tescort service.\n", "\n", "\t\t\t\tLEON\n", "\t\tDid you identify yourself?\n", "\n", "\t\t\t\tTOMMY\n", "\t\tHey, I'm new but I'm not stupid.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tCall communications and get an address\n", "\t\ton that number.\n", "\n", "\tTommy holds up a slip of paper with the outcall service\n", "\taddress on it.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tGood work.\n", "\n", "\tINT. KING EDWARD HOTEL ROOM - STAIRS - DAY\n", "\n", "\tJordy hurries out - catches up with Eddie.\n", "\n", "\t\t\t\tJORDY\n", "\t\tYou goin' to the escort service?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou got any better ideas?\n", "\n", "\t\t\t\tJORDY\n", "\t\tMind if I ride along with you?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThis has nothing to do with your fire.\n", "\n", "\t\t\t\tJORDY\n", "\t\tBut what if it does? You might need my\n", "\t\thelp.\n", "\n", "\tAs Eddie exits the hotel, a MAN approaches.\n", "\n", "\t\t\t\tMAN\n", "\t\tHey, Eddie, can I get your autograph for\n", "\t\tmy son?\n", "\n", "\tEXT. KING EDWARD HOTEL - DAY\n", "\n", "\tJordy catches up. Eddie finishes signing the autograph using\n", "\tthe man's back.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI'll let you know what happens.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThis is ridiculous. I'm not gonna be in\n", "\t\tyour way - we can talk the case over.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tTell you what - I'll flip you a coin. \n", "\t\tIf you win you can come with me. If you\n", "\t\tdon't win, you don't come.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'll call it... tails.\n", "\n", "\tEddie pulls out a coin and hands it to Jordy.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tOkay. I'll call it. Heads.\n", "\n", "\tJordy flips the coin and it's heads.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tHeads. See, you lost twice.\n", "\t\t\t(beat)\n", "\t\tOkay. Get in.\n", "\n", "\tJordy goes for the passenger side of the car. Before Jordy\n", "\tcan get in, Eddie starts to pull away. Jordy stands on the\n", "\tsidewalk - dejected. Eddie stops the car again and this time\n", "\tlets Jordy get in.\n", "\n", "\n", "\t\t\t\tWHIP PAN TO:\n", "\n", "\tINT. UPPER EASTSIDE HALLWAY - DAY\n", "\n", "\tEddie and Jordy arrive in front of Rose's door. Eddie knocks\n", "\tand flips a coin to Jordy.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tOh here. A souvenir.\n", "\n", "\tJordy takes the quarter. Not understanding what Eddie means. \n", "\tHe looks at the quarter.\n", "\n", "\t\t\t\tJORDY\n", "\t\tTwo heads.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tBetter than one.\n", "\n", "\tEddie suckered him with the coin toss. Jordy reacts. Eddie\n", "\tlaughs - squirts Binaca in his mouth. Knocks again. We hear\n", "\tROSE HELLER.\n", "\n", "\t\t\t\tROSE (O.S.)\n", "\t\tWho's there?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tPolice. We'd like to ask you a few\n", "\t\tquestions.\n", "\n", "\t\t\t\tROSE (O.S.)\n", "\t\tI have nothin' to say. If you wanna\n", "\t\tcontact my attorney...\n", "\n", "\t\t\t\tEDDIE\n", "\t\t\t(commands)\n", "\t\tHomicide, Miss Hearn. It's Detective\n", "\t\tEddie Flemming. Open up.\n", "\n", "\tRose reacts. Immediately UNLOCKS, UNCHAINS and opens the\n", "\tdoor! \n", "\n", "\t\t\t\tROSE\n", "\t\tYou! I've seen you on TV!\n", "\n", "\tEddie glances self-consciously at Jordy.\n", "\n", "\t\t\t\tROSE (CONT'D)\n", "\t\tC'mon in. C'mon in!\n", "\n", "\tINT. ROSE'S APARTMENT - DAY\n", "\n", "\tThey enter.\n", "\n", "\t\t\t\tROSE\n", "\t\tJust a minute. Shit. And I don't have\n", "\t\ta camera. Hold on a second.\n", "\n", "\tRose moves back to the phone - finishes up her conversation\n", "\tin Afrikaner. We hold on Eddie and Jordy at the door. Eddie\n", "\tlooks around - taking in the place. FOUR GIRLS are on\n", "\tphones. Two girls take orders for customers. The other two\n", "\twork the phone sex lines. Rose hangs up the phone - turns to\n", "\tEddie and Jordy:\n", "\n", "\t\t\t\tROSE (CONT'D)\n", "\t\tWhat's wrong?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWe don't have her I.D. yet, but one of\n", "\t\tyour girls was killed last night at the\n", "\t\tKing Edward Hotel.\n", "\n", "\t\t\t\tROSE\n", "\t\tOh my G-d. Honey! Honey's dead?\n", "\n", "\t\t\t\tJORDY\n", "\t\tDo you remember the man who called?\n", "\n", "\tThough Rose answers Jordy, she directs her response to Eddie.\n", "\n", "\t\t\t\tROSE\n", "\t\tYeah. He wanted a girl from\n", "\t\tCzechoslovakia, but I sent him Honey\n", "\t\t'cause once they get there, you know, it\n", "\t\tdoesn't really matter - Honey was\n", "\t\tkilled...? Poor girl...\n", "\n", "\t\t\t\tEDDIE\n", "\t\tDo you have any Czech girls working for\n", "\t\tyou?\n", "\n", "\t\t\t\tROSE\n", "\t\tNo.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tDid you tell him you did?\n", "\n", "\tA BUTCH GIRL enters. Rose speaks to her in Afrikaner.\n", "\n", "\t\t\t\tROSE\n", "\t\t\t(Afrikaner)\n", "\t\tBoy, she's so popular all the sudden.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWhat are you saying?\n", "\n", "\t\t\t\tROSE\n", "\t\tDaphne. Another guy came in asking me\n", "\t\tabout her, too.\n", "\n", "\tJordy pulls out the sketch, unfolds it.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThis her?\n", "\n", "\t\t\t\tROSE\n", "\t\tYeah. Sort of. I tried to recruit her,\n", "\t\tgave her my card. She said she'd think\n", "\t\tabout it but I never heard from her.\n", "\n", "\t\t\t\tBUTCH GIRL\n", "\t\t\t(Afrikaner)\n", "\t\tBeautiful eyes.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWho came by looking for her?\n", "\n", "\t\t\t\tROSE\n", "\t\tHe said he was her cousin. I told him\n", "\t\twhere she works. They were just here.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tDescribe him.\n", "\n", "\t\t\t\tROSE\n", "\t\tTall, short-haired, scary eyes. Second\n", "\t\tguy with him was...shorter, with a\n", "\t\twrestler's build. And he wouldn't turn\n", "\t\this videocamera off me.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tHe had a videocamera? Where is she? \n", "\t\tQuickly!\n", "\n", "\t\t\t\tROSE\n", "\t\tShe washes hair up at Ludwig's - a salon\n", "\t\ton 63rd and Madison.\n", "\n", "\tEXT. EDDIE'S CAR - DAY\n", "\n", "\tAs Eddie speeds through the street, SIREN BLARING.\n", "\n", "\tINT. EDDIE'S CAR - DAY\n", "\n", "\tJordy holds on as Eddie darts in and out of cars with\n", "\tastonishing dexterity. This man can drive. Eddie picks up\n", "\this phone - dials. Jordy is on his cell phone as well.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tLeon - meet us at 63rd and Madison. \n", "\t\tHair salon. Ludwig's. \n", "\n", "\t\t\t\tJORDY\n", "\t\t\t(overlapping)\n", "\t\tI'm on my way with Eddie. Ludwig's. \n", "\t\t63rd and Madison. The suspects might be\n", "\t\tthere already.\n", "\n", "\tEddie looks over as Jordy disconnects. Eddie picks up a beer\n", "\the was holding between his legs - finishes it.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou thirsty?\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'm on duty.\n", "\n", "\t\t\t\tEDDIE\n", "\t\t\t(drinking)\n", "\t\tSo am I. Alright, I'll go inside and\n", "\t\tyou cover the back.\n", "\n", "\t\t\t\tJORDY\n", "\t\tOf course.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tHey! I always wanted to be a cop when I\n", "\t\twas a kid. I dreamed of running up to a\n", "\t\tdoor, kicking it in, pulling my gun and\n", "\t\tyelling 'Freeze!' at the bad guy! \n", "\t\tWhat'd you dream about?\n", "\n", "\t\t\t\tJORDY\n", "\t\tI wanted to run up to a building on\n", "\t\tfire, kick in the door, rush into the\n", "\t\tsmoke and save a kid.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThen I guess we're doin' this the right\n", "\t\tway, aren't we? If we pull up to a\n", "\t\tburning building I'll gladly let you go\n", "\t\tfirst.\n", "\n", "\tJordy looks at Eddie - can't deny he's right.\n", "\n", "\tINT. LUDWIG'S SALON - DAY\n", "\n", "\tWe're in a moving video POV of Ludwig's, the hair salon -\n", "\tit's big and spacious. The lens finds THE RECEPTIONIST.\n", "\n", "\t\t\t\tOLEG (O.S.)\n", "\t\tDaphne Handlova?\n", "\n", "\t\t\t\tRECEPTIONIST\n", "\t\tDaphne? In the back. Probably\n", "\t\tshampooing a customer's hair.\n", "\n", "\tOleg approaches Daphne who is mixing hair dye. LUDWIG, the\n", "\towner, is with her.\n", "\n", "\t\t\t\tLUDWIG\n", "\t\tWhy are you messing with your hair color\n", "\t\tagain? You're going to kill your hair. \n", "\t\tYou won't look good with black hair.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tI want to do it, alright?\n", "\n", "\t\t\t\tLUDWIG\n", "\t\tWell, then do it after work. A\n", "\t\tcustomer's waiting.\n", "\n", "\tHe leaves, a customer approaches. She smiles at him - turns\n", "\ton the water in the sink then sees - Oleg filming her. She\n", "\tbacks up...suddenly moves to the emergency door!\n", "\n", "\tTO THE BACKYARD\n", "\n", "\tThere's a garden out there. Daphne runs toward the alley. \n", "\tOleg follows her - still videotaping. As she rounds the\n", "\tcorner she bumps into...Emil! He pulls out his kitchen\n", "\tknife, shoving her against the wall, pushing the blade with\n", "\tthe broken tip against her throat.\n", "\n", "\t\t\t\tEMIL\n", "\t\tI...I have a temper.\n", "\n", "\tShe looks at him, not understanding. Oleg films the scene.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tWhen I lose it, I lose control. I\n", "\t\tdidn't intend to kill Milos but he stole\n", "\t\tfrom me. Cheated me! When I went to\n", "\t\tprison, they beat me. I still didn't\n", "\t\ttell he was my partner. I loved Milos\n", "\t\tlike a brother...\n", "\n", "\tThe tone in Emil's voice - there's an uncharacteristic\n", "\tsoftness to it. He wants to reconcile his behavior to her.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\t\t(in English)\n", "\t\tI'm not a killer.\n", "\n", "\tThe back door opens. He shoves the knife in his pocket as\n", "\tLudwig peers around the alleyway. What he sees is Emil\n", "\tleaning close to Daphne, kissing her.\n", "\n", "\t\t\t\tLUDWIG\n", "\t\tDaphne, will you be coming back to work?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tIn a minute, Ludwig.\n", "\n", "\tLudwig leaves.\n", "\n", "\t\t\t\tEMIL\n", "\t\tSmart girl. I'm glad you're not a\n", "\t\twhore. But washing hair? This is no\n", "\t\tjob for a woman as beautiful as you. \n", "\t\tThey should be washing your hair.\n", "\n", "\tEmil reaches into his pocket and pulls out SOMETHING, sticks\n", "\tit in the palm of her hand, closing her fingers around it.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tI don't want to kill you. But if you\n", "\t\ttalk, I will.\n", "\t\t\t(whispers)\n", "\t\tI thought you'd want these.\n", "\n", "\tHe taps her hand...he turns and goes out the rear exit. Oleg\n", "\tfollows. Jordy arrives.\n", "\n", "\t\t\t\tJORDY\n", "\t\t...Daphne?\n", "\n", "\tShe says nothing.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tI'm a fire marshal. You remember me\n", "\t\tfrom the other night? You are Daphne,\n", "\t\tright?\n", "\n", "\tShe says nothing. Eddie arrives. Daphne turns. Recognizing\n", "\tEddie.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou don't have to be afraid. We're here\n", "\t\tto protect you. Come with me. We want\n", "\t\tto talk to you. You speak English\n", "\t\talright?\n", "\n", "\tEddie looks at Jordy. Takes Daphne by the arm.\n", "\t\t\n", "\t\tEXT. LUDWIG'S SALON - CONTINUOUS\n", "\n", "\tAs they come out, Eddie notices Daphne clutching something in\n", "\ther hand. He reaches for her hand. Opens it. It's a\n", "\tbrushed gold necklace.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tDid he give you these? Was he just\n", "\t\there?\n", "\n", "\tEddie searches the streets. Notices Oleg and Emil on the far\n", "\tcorner. Oleg is videotaping him. Leon and Tommy pull up. \n", "\tKorfin behind. They all pop out. Eddie grabs Leon -\n", "\tsqueezes his arm - quietly.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tThe other side of the street. The guy\n", "\t\twith the videocamera.\n", "\t\t\t(back to Jordy)\n", "\t\tDon't look - put her in the car.\n", "\t\t\t(to Leon)\n", "\t\tStay this side.\n", "\n", "\t\t\t\tLEON\n", "\t\t\t(back to Tommy)\n", "\t\tStay with her.\n", "\n", "\tThey start heading down the curb - trying not to attract the\n", "\tattention of Oleg and Emil.\n", "\n", "\tA VIDEO CLOSE-UP\n", "\n", "\tof the scene from across the corner.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(Czech)\n", "\t\tPut the fuckin' camera down! Let's go!\n", "\n", "\tEmil starts to flee.\n", "\n", "\tEXT. NYC STREETS - CONTINUOUS\n", "\n", "\tWhat follows next is an incredible foot chase with Eddie,\n", "\tJordy, Korfin and Leon running through traffic - chasing\n", "\tEmil. Eddie tries to stay in the lead but is running out of\n", "\tbreath.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tSplit up!\n", "\n", "\tJordy runs down one side of Madison - Eddie, the other. \n", "\tKorfin continues down 62nd and Leon covers the other side. \n", "\tThey search for Emil, grabbing people, turning them around,\n", "\tmissing him. Emil seems to have disappeared.\n", "\n", "\tLeon, gun raised, approaches the cafe. As he rounds the\n", "\tcorner, Emil darts out, cracking Leon across the face! Leon\n", "\tcrashes into a table, dropping his gun. Emil scoops up the\n", "\tgun and PISTOL-WHIPS Leon. BEATING the detective to a pulp. \n", "\tPeople are running from the scene. Emil takes Leon's wallet. \n", "\tHe is distracted by LAUGHTER. Oleg is VIDEOTAPING the scene.\n", "\n", "\t\t\t\tOLEG\n", "\t\tEmil, look!\n", "\n", "\tOleg swivels with the videocamera. Korfin is running toward\n", "\tthem - pushing through the crowd. Emil FIRES! Korfin is\n", "\tblown backwards.\n", "\n", "\t\t\t\tOLEG (CONT'D)\n", "\t\tPerfect! Cut. Print!\n", "\n", "\tEddie arrives. Bends down to Leon, whose face is red with\n", "\tblood. Jordy runs to Korfin, who's laying in the street,\n", "\tshot in the side. Jordy cradles his partner.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAre you hit?\n", "\n", "\t\t\t\tLEON\n", "\t\tNo. I'm okay.\n", "\n", "\t\t\t\tJORDY\n", "\t\t\t(to Korfin)\n", "\t\tBobby, Bobby! Where're you hit?!\n", "\n", "\t\t\t\tKORFIN\n", "\t\tIt hurts. Aw, Jesus!\n", "\n", "\t\t\t\tJORDY\n", "\t\tLay down. Stay down, Bobby.\n", "\n", "\tJordy looks up as Eddie steps into the center of the street. \n", "\tCars screech out of the way! Eddie crouches, taking aim at\n", "\tEmil, who is almost two blocks away. It's an impossible\n", "\tshot, out of range.\n", "\n", "\tBut Eddie closes an eye, aims and squeezes off one SHOT. Two\n", "\tblocks away, Emil topples. Korfin and Jordy look at Eddie,\n", "\tastonished he made the shot. Emil scrambles to his feet. \n", "\tRuns. Eddie holsters his weapon. Pulls out a handkerchief. \n", "\tDabs Leon's wounds.\n", "\n", "\t\t\t\tLEON\n", "\t\tHe got my gun! Motherfucker was filming\n", "\t\tthe whole time!\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI know. Relax. Take it easy. Don't\n", "\t\tworry, we'll get those fuckers.\n", "\t\t\t\t\t\t\n", "\n", "\t\t\t\tDISSOLVE TO:\n", "\n", "\tEMS VEHICLE\n", "\n", "\tEddie and Jordy watch as Korfin on a stretcher, is loaded in\n", "\tan EMS VEHICLE and in b.g., an EMS DOCTOR attends to Leon's\n", "\tbloody face. Eddie and Jordy turn to go back into the\n", "\trestaurant, now cleared out - as Nicolette Karas arrives with\n", "\ther cameraman.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tDetective - can you tell us what\n", "\t\thappened here?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI can't talk right now. We have some\n", "\t\tthings to take care of.\n", "\n", "\tJordy moves off, he doesn't want to get pulled in front of\n", "\tNicolette.\n", "\n", "\tDaphne can be seen waiting in the back of the restaurant,\n", "\tmaybe twenty feet away. Tommy stands next to her. This is\n", "\twhere Eddie and Jordy are headed.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tI understand, but I noticed that the\n", "\t\tFire Marshall is here with you. Is this\n", "\t\tsomehow related to the fire department?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI really can't give out any information\n", "\t\tright now at this point.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tOkay. But I do understand that your\n", "\t\tpartner, Leon Jackson's been injured. \n", "\t\tIs that correct?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tHe was hurt, but not seriously. He'll\n", "\t\tbe fine.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tDo you have the suspect in custody?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tUm...now is not a good time, okay. \n", "\t\tDetective Jackson's hurt. He's fine. \n", "\t\tI've got a Fire Marshall shot, Detective\n", "\t\tJackson is hurt but not seriously.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\t\t(to cameraman)\n", "\t\tAlright, cut, cut, cut.\n", "\n", "\tMike the cameraman cuts the cameraman - lowers it from his\n", "\tshoulder.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\t\t(to Eddie)\n", "\t\tEddie, are you okay?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYeah. Now's not a good time.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tAlright.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAlright?\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tAlright.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAlright.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tOkay.\n", "\n", "\tEddie walks into the restaurant. Throws a look back at her,\n", "\tthen enters.\n", "\n", "\tINT. ARMAND RESTAURANT - DAY\n", "\n", "\tJordy talks to Daphne. \n", "\n", "\t\t\t\tDAPHNE\n", "\t\tI told your partner, I can't help. I\n", "\t\tdidn't see anything.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tC'mon, start at the beginning. You know\n", "\t\tthese people?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tTamina was a friend of mine. My shower\n", "\t\twas broken, she let me use theirs.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tGo on.\n", "\n", "\tShe says nothing.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tWhether you tell us or not, we'll find\n", "\t\tout. Better if it comes from you.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tIf I tell you, will you arrest me?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tArrest you for what? Why would we\n", "\t\tarrest you?\n", "\n", "\tShe still hesitates.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tWhat are you hiding? Why are you afraid\n", "\n", "\t\t\t\tJORDY\n", "\t\tShe just saw two of her friends killed! \n", "\t\tThey probably threatened her.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tIs that all there is?\n", "\n", "\tShe looks at Eddie.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tAre you here illegally? Don't worry\n", "\t\tabout that. We'll talk to Immigration. \n", "\t\tThey won't deport you.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tNo, no, don't talk to Immigration!\n", "\n", "\tShe clams up.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhy not?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tSomething back home?\n", "\n", "\tJordy leads Daphne to a table - she sits. Eddie sits across\n", "\tfrom her. Jordy crouches down next to her.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\t...my little sister and I shared a flat -\n", "\t\tI came home one night and a man was\n", "\t\traping her. His gun was on the chair...\n", "\t\tHe came at me and I shot him.\n", "\n", "\t\t\t\tJORDY\n", "\t\t\t(optimistic)\n", "\t\tAlright. That's a justifiable homicide.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tYes, but he was a cop.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tA cop?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\t\t(beat)\n", "\t\tI'm from a small town in Slovakia. Like\n", "\t\tthe South here. The Police is right, a\n", "\t\tcivilian is wrong. So I fled.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tLook, we can help you but right now we\n", "\t\thave to deal with what's happening here. \n", "\t\tTell us the truth...is that the truth?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tYou're a cop - you'll never believe me.\n", "\n", "\t\t\t\tJORDY\n", "\t\t\t(to Eddie)\n", "\t\tCan I talk to you?\n", "\n", "\tEddie steps away with Jordy. Keeping his eyes on Daphne. \n", "\tShe tries to listen.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tShe's fucked. Even if that story is\n", "\t\ttrue.\n", "\n", "\t\t\t\tJORDY\n", "\t\tRaw deal.\n", "\n", "\tEddie tilts his head. Measures Jordy.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tLook - let me talk to her. Any leads I\n", "\t\tget, they're all yours. Just let me\n", "\t\thave a first crack at her.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou wanna talk to her alone?\n", "\n", "\t\t\t\tJORDY\n", "\t\tYeah.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWhat would your girlfriend think of\n", "\t\tthat?\n", "\n", "\t\t\t\tJORDY\n", "\t\tI don't have a girlfriend.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tMy point exactly.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'm serious here.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tSo am I.\n", "\n", "\t\t\t\tJORDY\n", "\t\tC'mon. You intimidate her 'cause you're\n", "\t\ta celebrity. She sees me differently.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou're her Savior? Is she the kid\n", "\t\tyou're gonna save from the burning\n", "\t\tbuilding?\n", "\n", "\t\t\t\tJORDY\n", "\t\tYou know what I'm saying here.\n", "\n", "\tEddie looks at his watch. Thinks it over. Measures Jordy.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tOkay, tell you what, I'll give you a\n", "\t\thead start. You take her to the station\n", "\t\thouse. Don't let her out of your sight. \n", "\t\tShe's the only warm body we got left.\n", "\n", "\t\t\t\tJORDY\n", "\t\tHey. I'm a professional.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWomen like that have a way of turning\n", "\t\tprofessionals into amateurs.\n", "\n", "\tHe gives Jordy a look and heads for the door.\n", "\n", "\tINT. A SEEDY BATHROOM - DAY\n", "\n", "\tEmil pulls off his sock and shoe, lifts his foot into a\n", "\tstained sink and washes the blood away, exposing the chunk of\n", "\tpink flesh taken out of his ankle. Emil grabs some toilet\n", "\tpaper, plugs the wound, then cuts the towel off the dispenser\n", "\twith his kitchen knife and wraps his ankle. He grits teeth\n", "\tin pain. The lights go out. Then Oleg adjusts the\n", "\tfluorescent light above the sink.\n", "\n", "\t\t\t\tOLEG\n", "\t\tGotta light the scene better. Now it's\n", "\t\tmore moody... like a scene from THE\n", "\t\tTHIRD MAN.\n", "\n", "\t\t\t\tEMIL\n", "\t\tShut up.\n", "\n", "\t\t\t\tOLEG\n", "\t\tDoes it hurt?\n", "\n", "\tEmil lifts his foot out of the sink.\n", "\n", "\t\t\t\tEMIL\n", "\t\tThis is nothing.\n", "\n", "\tEmil lifts his shirt, exposing his back.\n", "\n", "\t\t\t\tOLEG\n", "\t\tOh, shit. I hate looking at that!\n", "\n", "\t\t\t\tEMIL\n", "\t\tDon't want to film this?\n", "\n", "\tWe don't see what Oleg sees - not yet - but from his\n", "\texpression, it's horrible.\n", "\n", "\tINT. JORDY'S CAR - DAY\n", "\n", "\tDaphne rides in the backseat. Jordy's watching her in the\n", "\trearview.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tNow I become custody of police\n", "\t\tdepartment?\n", "\n", "\t\t\t\tJORDY\n", "\t\tIf you cooperate with the DA - maybe\n", "\t\tthey'll help you with your situation.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tI will if they don't send me back.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThey won't until this is over.\n", "\n", "\tShe looks away. Out the window. Jordy sees emotion filling\n", "\ther eyes. She looks back at him - her eyes have teared up.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tAre you married?\n", "\n", "\t\t\t\tJORDY\n", "\t\tDivorced.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tDo you live alone?\n", "\t\t\t(beat)\n", "\t\tI've been in these clothes since...the\n", "\t\tkillings. Could we stop at your place? \n", "\t\tI could take a shower...before I go into\n", "\t\tcustody?\n", "\n", "\tJordy looks at her. Can't quite tell if she's trying to\n", "\tmanipulate him or really just wants to get cleaned up before\n", "\tall the shit starts.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI can't take you to my place.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tSomewhere else?\n", "\n", "\tJordy looks at her...\n", "\t\t\n", "\n", "\tEDDIE\n", "\n", "\tStaring right at us.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI want to talk to you about something\n", "\t\tserious.\n", "\n", "\tHe holds up the diamond engagement ring.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tI want to live the rest of my life with\n", "\t\tyou...I don't know you've been married\n", "\t\tbefore and I've never been married, but\n", "\t\tI do love you, and...\n", "\n", "\tEddie is standing in front of a mirror - rehearsing the\n", "\tproposal. He notices a small dab of blood on his shirtcuff. \n", "\tLeon's blood. Paulie enters carrying a towel and a vodka\n", "\ttonic.\n", "\n", "\t\t\t\tPAULIE\n", "\t\tShe's here.\n", "\n", "\tPaulie sets down the drink and begins their silent ritual. \n", "\tHe hands Eddie the towel. Eddie wipes off his face and\n", "\thands, then hands the towel back to Paulie. Paulie helps\n", "\tEddie on with his coat. Eddie takes some Visine out of his\n", "\tcoat pocket. Drops a few in each eye. HE straightens\n", "\thimself and looks in the mirror, taking a big gulp of the\n", "\tdrink. Eddie sets the glass down and starts out. Paulie\n", "\thands him a Binaca. Eddie gives himself a squirt as he\n", "\texits. Paulie follows.\n", "\n", "\tINT. P.B. HERMAN'S RESTAURANT - DAY\n", "\n", "\tIt's lunchtime...it's crowded. Eddie takes a seat at a\n", "\ttable. He takes the ring out of his pocket - holds it under\n", "\tthe table. Nicolette Karas walks up to Eddie from behind. \n", "\tGives him a kiss on the cheek.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tHey, honey.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tHey.\n", "\n", "\tShe orders a drink in Greek from the Greek waiter, then sits\n", "\tdown across the table. There's a long pause - they just look\n", "\tat each other.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tWhat is your problem? Why'd you snap at\n", "\t\tme? I just wanted a statement.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI can't...I can't answer you just\n", "\t\tbecause you want me to answer you!\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tYou didn't have to embarrass me in front\n", "\t\tof my colleagues. You could give me\n", "\t\tsomething.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tOh, I'm sorry. Did I embarrass you,\n", "\t\tsweetheart? Oh...\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tStop it.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tMaybe I should just, ya know...turn to\n", "\t\tthe cameras and say, do you mind if we\n", "\t\tjust work something out?\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tAlright, alright, Eddie. Don't\n", "\t\tpatronize me.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI'm not.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tYes you are. I'm not just some\n", "\t\treporter. I don't just stick a\n", "\t\tmicrophone in your face. You could give\n", "\t\tme something.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYeah, well you took the camera and put\n", "\t\tit right down on the evidence. That\n", "\t\twas...\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tThat was good. You were holding the\n", "\t\tevidence.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou were merciless. You didn't give a\n", "\t\tshit if you got me or not.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tWell, who was it that taught me how to\n", "\t\tdo that? Huh?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou're ruthless.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tYou're not so bad yourself.\n", "\n", "\tThey look at each other.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tC'mere.\n", "\n", "\tThey kiss.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tLook at this. You have blood on your\n", "\t\tshirt. Whose is it?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tCould be Leon's.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tJesus. And last week you came over with\n", "\t\tblood on your shoes. What am I going to\n", "\t\tdo with you?\n", "\n", "\tEddie takes her hand.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou know, I been thinkin'...these shoes\n", "\t\tmight look nice with another pair of\n", "\t\tshoes next to them in the closet.\n", "\n", "\tShe looks at him.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tYou know, Nicky, I've been married twice\n", "\t\tbefore. My first wife was a\n", "\t\tprofessional woman, didn't have time for\n", "\t\tchildren. My second wife...I never\n", "\t\twanted to go home to her.\n", "\n", "\tNicolette's phone rings. Eddie stops - looks at the ringing\n", "\tphone.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tWhat are you doing? What are you\n", "\t\tsaying?\n", "\n", "\tNicolette's phone keeps ringing. Eddie stares at it.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tEddie?\n", "\n", "\tNicolette's phone keeps ringing.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tDon't worry about the damn phone. I\n", "\t\twon't answer it.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAnswer the phone.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tNo. Tell me what you want to say.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tAnswer it.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tOkay. Okay. Hold that thought just for\n", "\t\ta second. They only call me when it's\n", "\t\tan emergency. Just hold that thought.\n", "\t\t\t(into the phone)\n", "\t\tCan you call back?\n", "\n", "\t\t\t\tPHONE VOICE (O.S.)\n", "\t\tWe need you here in twenty minutes. Get\n", "\t\tin a cab.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tWhat're you talking about?\n", "\n", "\t\t\t\tPHONE VOICE (O.S.)\n", "\t\tKatie. We don't know where she is. We\n", "\t\tcan't find her. You gotta anchor the\n", "\t\t5:00. This is your shot. Come now.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tWhat? Oh. Okay. Yeah.\n", "\n", "\tThe line disconnects. She collapses the phone. Turns to\n", "\tEddie.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tOh my G-d, they want me to anchor. They\n", "\t\twant me to anchor tonight!\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThat's good.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tYeah.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWell, that's great.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tOkay. That is great. But I can't go\n", "\t\tnow, we're in the middle of something\n", "\t\there.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tNo. Go ahead. You're gonna be great.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tNo. No, listen to me here. I want to\n", "\t\tknow what you're talking about. You\n", "\t\tknow, the shoe thing and the marriages\n", "\t\tand...\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI'll tell you tonight. Let's do it\n", "\t\ttonight. As soon as you get back we'll\n", "\t\ttalk. We'll talk.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tPromise?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tI promise. We'll talk. You'll be\n", "\t\tgreat. You'll be fine. Go ahead, just\n", "\t\timagine that, uh... Just look into the\n", "\t\tlens and imagine you're talking to me.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tYeah. I'll do that. As long as you're\n", "\t\tnot patronizing me.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tPatronizing you... Nay, I love you.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tI love you.\n", "\n", "\tThey kiss.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tOkay, til tonight.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tTonight.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tYou promise?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYeah. I promise.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tOkay. And you know what, I'll swing by\n", "\t\tmy place, grab a couple pairs of shoes\n", "\t\tand maybe just test them out next to\n", "\t\tyours...How's that... Would that be a\n", "\t\tgood thing.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYeah, yeah. Good thing.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tOkay.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tSee you later. Good luck.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tThank you.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tDon't be late.\n", "\n", "\tShe walks out.\n", "\n", "\tINT. FIRE STATION 91 - DAY\n", "\n", "\tJordy unlocks the door. Enters with Daphne. The fire\n", "\tstation is empty.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThe men are out of quarters - practicing\n", "\t\tputting out fires.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tSo...the station is empty?\n", "\n", "\t\t\t\tJORDY\n", "\t\tYeah. This way.\n", "\n", "\tHe gestures toward the stairs.\n", "\n", "\tINT. FIRE STATION LOCKER ROOM - CONTINUOUS\n", "\n", "\tJordy and Daphne walk through the locker room. Her eyes\n", "\tnever leaving Jordy's.\n", "\n", "\t\t\t\tJORDY\n", "\t\tYou considered becoming a prostitute?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tYes, I considered it.\n", "\n", "\t\t\t\tJORDY\n", "\t\tDid you ever turn tricks before?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tNo.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhat about back home?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tNo.\n", "\n", "\tDaphne stops. Looks at him. Stands very close.\n", "\n", "\t\t\t\tDAPHNE (CONT'D)\n", "\t\tI came here. I had no money. I knew no\n", "\t\tone. I couldn't get a job because you\n", "\t\thave to have a green card to get work. \n", "\t\tThey approached me - I could've made a\n", "\t\tlot of money. I considered it, but...\n", "\t\tit's not who I am. They pay me below\n", "\t\tthe table at Ludwig's.\n", "\n", "\t\t\t\tJORDY\n", "\t\tSo you were never a prostitute?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tWhat are you asking me?\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'm just trying to find out who you are.\n", "\n", "\tShe looks up into his eyes. Searching. Thinking he's\n", "\thinting.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tCan you let me go?\n", "\n", "\tShe leans in close to him - giving him the opportunity to\n", "\tkiss her. Jordy is tempted but...remembers Eddie's warning\n", "\tand backs up slightly.\n", "\n", "\t\t\t\tJORDY\n", "\t\tShowers are this way.\n", "\n", "\tDesperate now, willing to do anything, Daphne moves in even\n", "\tcloser.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tYou could shower with me.\n", "\n", "\tJordy is locked in her eyes. Almost giving in. Then breaks\n", "\taway. Gestures towards the showers. \n", "\tDaphne looks away form him - crestfallen. She heads to the\n", "\tshowers. Jordy follows her into the bathroom. The walls are\n", "\tlined with shower stalls.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'll uh, I'll get you a towel.\n", "\n", "\tHe leaves her there. Alone. She quickly moves to the\n", "\twindow. Opens it. Looks down. It's a two-story drop to the\n", "\tstreet.\n", "\n", "\tJORDY\n", "\n", "\tgets a towel from the locker room. His beeper goes off. He\n", "\tchecks the number but decides not to return the call. We\n", "\tfollow him back into the bathroom. The shower is on but he\n", "\tnotices the window. It's open.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tShit!\n", "\n", "\tHe rushes over. He looks out. No sign of her. He turns -\n", "\tlooks back at the shower. It's on but he can't see through\n", "\tthe curtain. Can't tell if she's there. He walks over -\n", "\tquickly - fearing that she's left. He pulls the curtain\n", "\taside. She's crouched in the corner shower stall. Holding\n", "\therself. She looks up at him - her eyes filled with tears.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tAre you alright?\n", "\n", "\tJordy sits on the bench next to the shower.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tI'm not a whore. I'm not a whore.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI know.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tYou don't know. I'm sorry. I was\n", "\t\tdesperate. That's not me. I shot a\n", "\t\tcop. Can you imagine what they'll do to\n", "\t\tme when I got to prison?\n", "\n", "\t\t\t\tJORDY\n", "\t\tThey're not gonna send you right back.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tI'm sorry. I didn't mean to...I'm glad. \n", "\t\tActually I'm glad it's over. All this\n", "\t\ttime. Hiding. Never being able to look\n", "\t\tanyone in the eyes. \n", "\t\tAlways afraid that someone would find\n", "\t\tout who I was. Never trusting anyone...\n", "\n", "\tHe covers her with the towel, pulling her up.\n", "\n", "\t\t\t\tJORDY\n", "\t\tYou can trust me.\n", "\n", "\tShe embraces him. Trusting him. He stands there for a\n", "\tmoment. Then awkwardly holds her. Comforting her.\n", "\t\t\n", "\t\tINT. NYC RESTAURANT - DAY\n", "\n", "\tCLOSE UP\n", "\n", "\ton a steak. Male hands cut a piece. Another male hand sets\n", "\tdown a huge bottle of Extra Strength Excedrin. The hands\n", "\tabandon the steak and rip open the bottle. The CAMERA pulls\n", "\tback to include the LCD screen of Oleg's videocamera. He is\n", "\ttaping Emil as he rips open the safety plastic with his\n", "\tteeth. Emil is sweating with fever and his eyes are glazed\n", "\tover in pain. He 'drinks' pills from the bottle and chews\n", "\tthem up. Wincing in pain. Emil washes them down with a\n", "\tbeer.\n", "\n", "\tEmil looks down and the camera follows his gaze to the\n", "\t\"People\" magazine article he's reading on Stephen Geller. \n", "\tEmil laughs. Shaking his head at the article as the\n", "\tvideocamera tilts back up to his face.\n", "\n", "\t\t\t\tOLEG\n", "\t\tWhat is it?\n", "\n", "\t\t\t\tEMIL\n", "\t\tThe video of Milos and Tamina - I told\n", "\t\tyou to erase it.\n", "\n", "\t\t\t\tOLEG\n", "\t\tI did.\n", "\n", "\t\t\t\tEMIL\n", "\t\tAnd the whore's murder? You didn't\n", "\t\terase that either, did you? Don't lie,\n", "\t\tI won't be angry.\n", "\n", "\t\t\t\tOLEG\n", "\t\tWhy not?\n", "\n", "\t\t\t\tEMIL\n", "\t\tPut the camera down, Oleg.\n", "\n", "\tOleg closes the LCD screen and puts the camera down. Emil\n", "\tremoves a small address book -- from Leon's wallet - he looks\n", "\tup Eddie Flemming's name.\n", "\n", "\t\t\t\tOLEG\n", "\t\tWhat is that?\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhat does it look like? It's an address\n", "\t\tbook!\n", "\n", "\tOleg jumps up with the camera to tape the book.\n", "\n", "\t\t\t\tOLEG\n", "\t\tLet me get a shot of it.\n", "\n", "\t\t\t\tEMIL\n", "\t\tSit down!\n", "\n", "\t\t\t\tOLEG\n", "\t\tThis way. Hold it this way. Good.\n", "\n", "\tOleg gets a shot and quickly sits back down.\n", "\n", "\t\t\t\tOLEG (CONT'D)\n", "\t\tWhy won't you be angry at me for keeping\n", "\t\tmy movie?\n", "\n", "\tEmil takes a gulp of beer - drops cash on the table and limps\n", "\taway. Oleg follows.\n", "\t\t\n", "\n", "\tINT. PRECINCT - DAY\n", "\n", "\tIt's quiet - Chief Duffy paces in front of the Sergeant's\n", "\tdesk. Looking at his watch. Growing more and more\n", "\taggravated as every second ticks by. Jordy enters escorting\n", "\tDaphne. Sees Duffy and tires to go past him. Duffy turns\n", "\tand sees Jordy and Daphne.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tHey. Warsaw.\n", "\n", "\tJordy stops and comes back. Sitting Daphne down on a bench.\n", "\n", "\t\t\t\tJORDY\n", "\t\tHey, Chief, what are you doing here?\n", "\n", "\t\t\t\tDUFFY\n", "\t\tI came to see how the investigation was\n", "\t\tgoing.\n", "\t\t\t(looks at Daphne)\n", "\t\tI called and you're not here. I wait up\n", "\t\tat the station and you don't even show\n", "\t\tup!!! I beep you - you don't return my\n", "\t\tcall. Where the hell have you been?!\n", "\n", "\tJordy takes a few steps away from Daphne.\n", "\n", "\t\t\t\tJORDY\n", "\t\tLadder 20 was on the Rock for training. \n", "\t\tWe stopped there... so she could get\n", "\t\tcleaned up.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tWhat do you mean, 'cleaned up?'\n", "\n", "\t\t\t\tJORDY\n", "\t\tI let her take a shower.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tA shower!? Did you take one, too?\n", "\n", "\t\t\t\tJORDY\n", "\t\tNo! Nothing happened.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tOh really. That's nice. You took a\n", "\t\thomicide witness to take a shower after\n", "\t\tyour partner was shot? Are you out of\n", "\t\tyour fucking mind?? Are you having that\n", "\t\tmuch trouble gettin' dates?!\n", "\n", "\t\t\t\tEDDIE (O.S.)\n", "\t\tI told him to take her there.\n", "\n", "\tJordy and Duffy turn. Eddie walks out. Eddie turns - Tommy -\n", "\tthe young detective who caught the case in the King Edward\n", "\tHotel - is coming out of the back office.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tTommy, get her outta here.\n", "\n", "\tTommy takes Daphne into the precinct.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tThis way, ma'am.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThere was too much press hangin' around\n", "\t\tthere. I didn't want her face on the\n", "\t\tnews. So I told him to take her to a\n", "\t\tquiet area until things settled down.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tOh.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tIt was my decision, not his.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tWell, I'm the Deputy Chief Fire Marshall\n", "\t\tand every now and then I'd like to be\n", "\t\tincluded in decisions.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tLook, after Jordy briefs me, you can do\n", "\t\tthe press conference. How about that? \n", "\t\tThe case is all yours.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tOh yeah...? Alright.\n", "\n", "\t\t\t\tEDDIE\n", "\t\t\t(to Jordy)\n", "\t\tI'm ready to be briefed.\n", "\t\t\t(to Duffy)\n", "\t\tExcuse us.\n", "\n", "\t\t\t\tDUFFY\n", "\t\t\t(to Eddie)\n", "\t\tYeah, sure.\n", "\t\t\t(to Jordy)\n", "\t\tBeep me when you're ready for the press\n", "\t\tconference.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWill do, Chief.\n", "\n", "\tEddie leads the way, walking past the Sergeant's desk -\n", "\ttoward the back and to his office.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tEddie, I...\n", "\n", "\tEddie holds up his hand - silencing Jordy.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWait.\n", "\n", "\tINT. POLICE PRECINCT - DETECTIVE ROOM'S SQUAD - DAY\n", "\n", "\tA handful of detectives talk about work over burned coffee. \n", "\tEddie enters with Jordy.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tGuys...give me a few minutes?\n", "\n", "\tThey empty out.\n", "\n", "\t\t\t\tJORDY\n", "\t\tLook, Eddie, I'm tellin' you - I didn't\n", "\t\ttouch her.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWell, you shoulda because nobody's gonna\n", "\t\tbelieve you didn't...including me.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI took her there for a shower and that's\n", "\t\tit.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tJust a shower?\n", "\n", "\tEddie gives Jordy a questioning look.\n", "\n", "\t\t\t\tJORDY\n", "\t\tYeah, just her in the shower. Nothing\n", "\t\thappened. Look, I'm sure you probably\n", "\t\tthink I'm a fool and I fucked up, but...\n", "\n", "\t\t\t\tEDDIE\n", "\t\tNo, I don't think you were a fool, I\n", "\t\tjust think you were stupid about it. I\n", "\t\tmean, to say the least, you outta know\n", "\t\tbetter. You don't know her well enough. \n", "\t\tShe's got the potential to fucking hang\n", "\t\tyou even if she suggests that you made a\n", "\t\tpass at her, it's fuckin' over. You can\n", "\t\tdeny it all you want, but it will not\n", "\t\tmake one fucking bit of difference. \n", "\t\tYou're dead.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI told you, you know, I thought I was\n", "\t\tdoing the right thing, you know, I think\n", "\t\tshe's innocent.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWell, it's not up to you to decide\n", "\t\twhether she's innocent or not. Don't\n", "\t\tyou understand, that's why you're a\n", "\t\tprofessional.\n", "\n", "\t\t\t\tJORDY\n", "\t\tBut, I mean, didn't you ever go out on a\n", "\t\tlimb for somebody? I mean, you shoulda\n", "\t\theard her there. Tellin' her whole\n", "\t\tstory...I believed her.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tHow you go out on a limb for somebody is\n", "\t\tby giving her a number of an Immigration\n", "\t\tlawyer. Here, here's a number of an\n", "\t\tImmigration lawyer. That's how you help\n", "\t\ther. \n", "\t\tBut you can't get involved in her like\n", "\t\tthat. You're gonna jeopardize your\n", "\t\tcareer, your life and you're gonna\n", "\t\tjeopardize my case. And lemme give you\n", "\t\tanother piece of advice. Maybe you\n", "\t\tdon't watch TV but I'll let you in on a\n", "\t\tlittle secret - the whole fuckin' world\n", "\t\twatches television. And when you get\n", "\t\tout there, they know your face. And the\n", "\t\tlittle fame, the little fuckin' itty\n", "\t\tbitty fame that I get in this city makes\n", "\t\tit a lot easier for my job. And I get\n", "\t\tmore done because of it.\n", "\n", "\tJordy studies Eddie for a quiet beat.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhy'd you help me back there with the\n", "\t\tChief? Why'd you stand up for me like\n", "\t\tthat?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou know, I don't know. I like you. \n", "\t\tYou remind me of a puppy I used to have. \n", "\t\tHe pissed on the rug all the time, but I\n", "\t\tstill kept him.\n", "\n", "\tEddie picks up his cigar that's going out. He sticks it in\n", "\this mouth. A match is lit. He looks up. Jordy holds the\n", "\tmatch. Eddie dips the end of the cigar and puffs. The\n", "\thomicide detective and the fire marshal hold a look.\n", "\t\t\n", "\n", "\tINT. EDDIE'S APARTMENT - NIGHT\n", "\n", "\tEddie walks in - carrying flowers. He closes and locks the\n", "\tdoor behind him. He grabs the phone. Dials.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tIt's Flemming...anything turn up? Did\n", "\t\tthey check the hospitals? Airports? \n", "\t\tYeah, I hit him! I fuckin' hit him! We\n", "\t\tshould be all over everywhere - with\n", "\t\tdogs, choppers, everything! These guys\n", "\t\tare from fuckin' Czechoslovakia...\n", "\n", "\tHe looks at the flowers. Decides to put the case behind him\n", "\tfor a moment.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tI'll call you later.\n", "\n", "\tHe HANGS up. Arranges the flowers in a vase. So they look\n", "\tperfect. Sets them on the coffee table. Fills out a card,\n", "\twrites, \"Nicky, I love you. \n", "\tWill you marry me?\" He sticks the card in the flowers -\n", "\tturns the lights down low. Puts a romantic Sinatra song on\n", "\tthe stereo. Moves to the liquor cabinet. Pours himself a\n", "\tdrink. He sets the ringbox on the coffee table - next to the\n", "\tflowers. There's a knock at the door.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tComing!\n", "\n", "\tEddie smooths his hair, unlocks the door. But the hallway is\n", "\tempty.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tNicky!?!?\n", "\n", "\tNo answer. Eddie steps out in the hallway with the drink in\n", "\this hand. Walks toward the elevator. Doesn't notice the\n", "\tshadow that passes behind him - entering his apartment. \n", "\tEddie turns. No sign of anyone.\n", "\n", "\t\t\t\tEDDIE (CONT'D)\n", "\t\tNicky?!\n", "\n", "\tHe walks back toward his apartment. Turns and locks the\n", "\tdoor. A BLUR jumps out of the shadows SLAMMING him on the\n", "\thead with a gun. Eddie tumbles to the floor! OUT COLD!\n", "\n", "\tA BLURRED VIDEO IMAGE\n", "\n", "\tas it's focused - on Eddie - handcuffed and upper body taped\n", "\tto a chair - 20 minutes later - sobered up. Emil is sitting\n", "\tin front of him. On the coffee table alongside him are the\n", "\tflowers in a vase. They've ransacked the place. Emil has\n", "\tEddie's watch, his gold shield and his money. He's smoking\n", "\tone of Eddie's cigars and in Emil's hand...is the diamond\n", "\tengagement ring and card. Oleg, 60 MINUTES-style, is\n", "\tpositioned behind Emil videotaping Eddie. He moves to the\n", "\tcorner of the room - bringing a light back over to illuminate\n", "\tEddie's face.\n", "\n", "\t\t\t\tEMIL\n", "\t\tSo...who's Nicky?\n", "\n", "\t\t\t\tEDDIE\n", "\t\tWhat do you want?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYour opinion.\n", "\t\t\t(leaning forward)\n", "\t\tYou see, they going to make a movie\n", "\t\tabout me, too, Eddie. And write books.\n", "\n", "\t\t\t\tEDDIE\n", "\t\t\t(sarcastic)\n", "\t\tWhat's your accomplishment.\n", "\n", "\t\t\t\tEMIL\n", "\t\tI kill someone famous.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tThen do it, asshole.\n", "\n", "\t\t\t\tEMIL\n", "\t\tGood - be tough to the end. Actor who\n", "\t\tplays you will want to die like hero.\n", "\n", "\tEddie looks at the videocamera. Emil answers Eddie's look.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tSo tabloids don't have to do re\n", "\t\tenactments. They going to have real\n", "\t\tmovie this time.\n", "\n", "\t\t\t\tEDDIE\n", "\t\tIf you kill me and film it you're\n", "\t\tputting a noose around your neck.\n", "\n", "\tEmil turns to Oleg.\n", "\n", "\t\t\t\tEMIL\n", "\t\tTurn it off.\n", "\n", "\tOleg obeys. Emil turns to Eddie.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tNo. We are insane. Who else but crazy\n", "\t\tmen would film their murders?\n", "\t\t\t(gestures to Eddie)\n", "\t\tSo we kill someone famous and if we are\n", "\t\tcaught, we are sent to mental hospital. \n", "\t\tBut what good is money there? Because\n", "\t\tonce in hospital I say I not crazy. \n", "\t\tJust pretended to be acquitted. We see\n", "\t\tpsychiatrists. They must certify we are\n", "\t\tsane and because of your - what is law\n", "\t\tcalled?\n", "\t\t\t(Eddie says nothing)\n", "\t\tOh - I got it. Because of your Double\n", "\t\tJeopardy law, we can't be tried for same\n", "\t\tcrime twice. We come out free, rich and\n", "\t\tfamous!\n", "\n", "\t\t\t\tOLEG\n", "\t\tGood idea!\n", "\n", "\t\t\t\tEDDIE\n", "\t\tYou really think you'll be able to fool\n", "\t\ta jury with this bullshit? How fuckin'\n", "\t\tstupid are you?\n", "\n", "\t\t\t\tEMIL\n", "\t\tSmarter than Americans. You're fed cry\n", "\t\tbaby talk shows all day long. Not only\n", "\t\twill Americans believe me, they'll cry\n", "\t\tfor me.\n", "\t\t\t(laughs)\n", "\t\tSo...Detective Eddie Flemming, would you\n", "\t\tlike to say goodbye to your Nicolette? \n", "\t\tMaybe you can propose to her now?\n", "\n", "\tEddie says nothing. Just stares at Emil. Emil puffs on\n", "\tEddie's cigar.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tOkay. He has nothing to say.\n", "\t\t\t(signaling Oleg)\n", "\t\tStart the camera!\n", "\n", "\t\t\t\tOLEG\n", "\t\tCut!\n", "\n", "\tEmil looks at Oleg.\n", "\n", "\t\t\t\tOLEG (CONT'D)\n", "\t\tThis is my project. I say 'action.' I\n", "\t\tam the director! You are the talent. \n", "\t\tYou wait for me to say 'action!'\n", "\n", "\tEmil looks at Eddie as if to say, \"See what I have to put up\n", "\twith.\" Oleg gestures from behind the videocamera.\n", "\n", "\t\t\t\tOLEG (CONT'D)\n", "\t\tAnd...action!\n", "\n", "\tOleg FILMS as Emil raises Eddie's service revolver. Eddie\n", "\tsuddenly KICKS at Emil's hand, but Emil pulls it away,\n", "\tbacking out of Eddie's reach.\n", "\n", "\t\t\t\tEMIL\n", "\t\tBad last moment - I cut that out.\n", "\n", "\tEmil raises the pistol again - pointing the gun at Eddie's\n", "\tleft temple. Emil cocks the hammer, but Eddie avoids the\n", "\tgun, ducking his head to the side of Emil's arm. Standing\n", "\tand following his head up Emil's arm and pushing him over\n", "\tinto the desk. Eddie then knocks Emil with the chair and\n", "\tEmil falls off the desk and onto the floor.\n", "\n", "\tOleg still grips the videocamera. Eddie continues around\n", "\twith the chair and drives Oleg back across the room - pinning\n", "\thim to the wall.\n", "\n", "\tEddie comes back from Oleg to the gun at the same time as\n", "\tEmil is limping for it. Eddie knocks Emil out of the way\n", "\twith the chair and then stabs him with the legs of the chair\n", "\trepeatedly.\n", "\n", "\tEddie comes up and around again at Oleg who is coming at him\n", "\tfrom the wall. Eddie knocks Oleg over the coffee table and\n", "\tonto the sofa. Falling on top of him, rolling over and\n", "\tleaving Oleg on the sofa.\n", "\n", "\tEddie manages to get up from the sofa and position the chair\n", "\tin such a way that he can fall over backward and grab the\n", "\tgun. Emil limps toward the gun at the same time and it is\n", "\tnot clear in the darkness who has the gun.\n", "\n", "\tOleg gets up from the sofa and goes over to get the\n", "\tvideocamera. Eddie has managed to get the gun and comes up\n", "\tas Oleg is moving in with the camera and starts shooting\n", "\ttoward Oleg - managing to shoot one of the blinds off the\n", "\twindow and one of the lampshades off the lamp.\n", "\n", "\tOleg crouches down with the camera and Eddie starts to turn\n", "\ttoward Emil who comes at him with the knife and stabs him in\n", "\tthe stomach.\n", "\n", "\tEmil steps back, revealing the knife is BURIED IN EDDIE'S\n", "\tSTOMACH.\n", "\n", "\tEddie stumbles backward, falling over but still attached to\n", "\tthe chair - holding the gun. Eddie can't believe he got\n", "\tstabbed. Blood swells around his stomach. He can't be\n", "\tdying. This can't be happening. He looks at Emil. The pain\n", "\tis terrible. Oleg has knelt down next to Eddie - getting a\n", "\tclose up.\n", "\n", "\tEmil looks at Eddie.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tDie. Die.\n", "\n", "\tEmil looks around. Grabs a black pillow and finishes Eddie\n", "\toff, suffocating him.\n", "\t\t\n", "\n", "\tBLACKNESS\n", "\n", "\tWe are moving through a tunnel - pitch black, so dark all you\n", "\tfeel is the motion. We are travelling very fast. Finally,\n", "\tin the distance, a speck of light which fills the frame. \n", "\tWe slowly pull back from the white light to discover it is a\n", "\ttiny pixel on a TV screen.\n", "\n", "\tWIDENING\n", "\n", "\tfurther out we see Eddie's funeral on the evening news. It's\n", "\tan enormous gathering - a sea of blue uniforms and\n", "\tdignitaries. In the upper right hand corner, superimposed\n", "\tover the funeral, is a picture of Eddie from his ID and in\n", "\this NYPD uniform. We see Oleg's reflection on the set with\n", "\tthe videocamera. He is filming the TV. We hear the audio\n", "\tfrom Eddie's funeral.\n", "\n", "\t\t\t\tNEWSCASTER (ON T.V.)\n", "\t\t..Detective Flemming was one of the most\n", "\t\tdecorated NYPD detectives in the history\n", "\t\tof New York. He made several thousand\n", "\t\tarrests during his career, including the\n", "\t\tfamed Stephen Geller case. Beloved by\n", "\t\tthe community in which he served. His\n", "\t\tpartner eulogized him...\n", "\n", "\tLeon is at the mic. \n", "\n", "\t\t\t\tLEON (ON T.V.)\n", "\t\t...Eddie was my mentor, my best friend\n", "\t\tand my partner...he taught me the\n", "\t\tmeaning of the word 'cop.' He was a man\n", "\t\tin every sense of the word. I'll miss\n", "\t\thim...\n", "\t\t\t(choking on tears)\n", "\t\tSleep well, brother.\n", "\n", "\tLeon begins to sing \"Amazing Grace.\" Oleg PANS from the TV\n", "\tand focuses it on a lightbulb. Hands enter the frame -\n", "\tcarefully pouring clear liquid into an ashtray. A long\n", "\thypodermic needle slides into the ashtray - the plunger is\n", "\tpulled back and the needle quickly fills with liquid. \n", "\tGingerly, the needle is inserted into the lightbulb. Again,\n", "\tthe plunger moves and the lightbulb is filled and placed on a\n", "\ttable...next to a CAN OF GASOLINE. VIDEOCAMERA ZOOMS OUT\n", "\trevealing...Emil sitting at a hotel desk doing this.\n", "\n", "\tINT. P.B. HERMAN'S RESTAURANT - DAY\n", "\n", "\tIt's packed with COPS drinking. Prosecutors...lawyers...many\n", "\twho were at the funeral, including Leon. All wear the black\n", "\tribbon on their badges. There's a quality of an Irish wake -\n", "\tboisterous, guys cursing...many cops in uniform. A buffet\n", "\thas been laid out.\n", "\n", "\tHawkins enters in a black suit, wearing a black ribbon. He\n", "\tgreets people, shaking hands, embracing Leon.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tAwful...what an awful day. He was New\n", "\t\tYork City.\n", "\n", "\tHawkins notices a young man by the window. Teary-eyed. It's\n", "\tTommy. Hawkins nods to him.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tI never got to tell him how much I\n", "\t\tadmired him.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tI know, son, I know. We all loved him.\n", "\n", "\tHawkins moves on...greeting others. He notices at the end of\n", "\tthe bar - sitting alone on a stool - is Nicolette. He moves\n", "\tto her. Pulls up a stool alongside her. She turns, looks at\n", "\thim. Just stares at him for a long beat. She is bombed. \n", "\tDefinitely drunk. She's had many. She turns to Hawkins.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tYou know...you know he was gonna propose\n", "\t\tto me. The crime guys found a card he'd\n", "\t\twritten out to me. And a ring\n", "\t\tbox...these fuckers that killed him -\n", "\t\thave my ring. They have my diamond\n", "\t\tengagement ring...\n", "\n", "\tHawkins touches her shoulder with compassion.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tI know.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tWhat do you mean you know? He told you\n", "\t\the was gonna propose to me?\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tWell, he...\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\t\t(overriding)\n", "\t\tI want to hear everything he said.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tI'm trying to tell you.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tAlright. Go ahead.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tThat morning. He was talking to me and\n", "\t\tLeon about marriage.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tOh my G-d. We were having lunch here. \n", "\t\tHe started making overtures - talking\n", "\t\tabout little shoes next to his in his\n", "\t\tcloset but I got a call to anchor - and\n", "\t\tI walked out on him. I walked out on\n", "\t\thim when he was trying to ask me to\n", "\t\tmarry him!!\n", "\n", "\tNicolette is crying now. She angrily wipes away a tear.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tI'd never had a great relationship\n", "\t\tbefore. I'd never made great choices\n", "\t\twith men. And he wasn't easy to get to\n", "\t\tknow. He was older, my parents told me\n", "\t\tI was nuts to get involved with him. \n", "\t\tBut he was so great to me. Always\n", "\t\tencouraging, telling me I could do\n", "\t\tanything...\n", "\t\t\t(beat)\n", "\t\tHe was the one. You know, I'd give up\n", "\t\teverything - everything - for just a\n", "\t\tlittle more time. I would've spent\n", "\t\tfifteen minutes with him if that's all I\n", "\t\tknew I had.\n", "\n", "\tShe's lost it. Hawkins consoles her. Nicolette shrugs him\n", "\toff - turns back to her drink. Downs the rest of it. A\n", "\twoman arrives, MAGGIE, Hawkins' producer - assistant in tow.\n", "\n", "\t\t\t\tMAGGIE\n", "\t\tRobert...?\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tWhat are you doing here?\n", "\n", "\t\t\t\tMAGGIE\n", "\t\t\t(holding a cellular)\n", "\t\tYou've got a call.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tI can't talk to anybody right now, can't\n", "\t\tyou see I'm busy! I can't talk\n", "\t\tbusiness. Hang up. Have a drink.\n", "\t\t\t(to Paulie)\n", "\t\tGet her a whiskey.\n", "\n", "\t\t\t\tMAGGIE\n", "\t\tTrust me, you'll want to take this call.\n", "\n", "\tRobert steps off the stool. Takes the phone.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tHello? Who is this?\n", "\t\t\t(listens)\n", "\t\tHow do I know this is you?\n", "\n", "\tHawkins gives Nicolette a comforting squeeze on her shoulder. \n", "\tBacks away from the bar. Now out of hearing distance, he\n", "\tlooks back at Nicolette and lowers his voice.\n", "\n", "\t\t\t\tHAWKINS (CONT'D)\n", "\t\tWhere?\n", "\n", "\tWe INTERCUT Emil on a public phone in the lobby of a movie\n", "\ttheater. Oleg videotapes Emil on the phone, as he throws\n", "\tglances into the theater.\n", "\n", "\t\t\t\tEMIL\n", "\t\tCome to 45 Broadway. Don't bring the\n", "\t\tPolice. Come alone or you'll be in my\n", "\t\tnext film.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\t\t(low)\n", "\t\tLook asshole. I've been threatened by\n", "\t\tbetter than you.\n", "\n", "\t\t\t\tEMIL\n", "\t\tNo. I'm the best that's ever threatened\n", "\t\tyou.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tI'll meet you on one condition - I get\n", "\t\texclusivity and you surrender to me.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWe'll talk about that. Four o'clock\n", "\t\tgives you time to go to bank. Three\n", "\t\thundred thousand dollars.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tWhat? It doesn't work that way.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(incensed)\n", "\t\tIf you don't want my film - I'll call\n", "\t\tanother show. And they will show it.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tWait a minute. Wait a minute.\n", "\n", "\t\t\t\tEMIL\n", "\t\tCome alone. Bring cash. And we'll talk\n", "\t\tabout surrendering.\n", "\n", "\tCLICK. The line goes dead. Hawkins disconnects. Hands the\n", "\tphone back to Maggie. She's looking at him. Excited. \n", "\tHawkins looks at Nicolette. His mind whirls.\n", "\n", "\tINT. FIRE STATION 91 - KITCHEN - DAY\n", "\n", "\tDaphne and Korfin are sitting at a table. Korfin's arm is in\n", "\ta sling, his side bandaged. Duffy and Jordy enter in their\n", "\tdress uniforms. Korfin walks over to them.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tHow was it?\n", "\n", "\t\t\t\tJORDY\n", "\t\t\t(numb)\n", "\t\tNot good.\n", "\n", "\tJordy's quiet. Dazed. Nobody can believe Eddie's gone.\n", "\n", "\t\t\t\tDUFFY\n", "\t\t\t(nods to Daphne)\n", "\t\tDid the D.A. videotape her deposition?\n", "\n", "\t\t\t\tKORFIN\n", "\t\tYeah. He finished awhile ago.\n", "\n", "\t\t\t\tDUFFY\n", "\t\t\t(to Korfin)\n", "\t\tAlright. Swing by her apartment. Let\n", "\t\ther pick up her clothes and take her\n", "\t\tstraight to Hoover Street. You got\n", "\t\tthat?\n", "\n", "\t\t\t\tKORFIN\n", "\t\tYeah.\n", "\n", "\tJordy looks at her. Duffy sees them hold each other's look.\n", "\n", "\t\t\t\tJORDY\n", "\t\tChief - mind if I take her?\n", "\n", "\t\t\t\tDUFFY\n", "\t\tOkay. But not water sports.\n", "\n", "\tDuffy walks out. Jordy leads Daphne out of the station. \n", "\tKorfin follows. A MAN IN A CHEAP SUIT is talking to Camello\n", "\twho points as Jordy walks by. The man chases after Jordy.\n", "\n", "\t\t\t\tMAN\n", "\t\tExcuse me - Jordan Warsaw?\n", "\n", "\t\t\t\tJORDY\n", "\t\tYeah.\n", "\n", "\t\t\t\tMAN\n", "\t\t\t(shoving papers in Jordy's\n", "\t\t\t hand)\n", "\t\tConsider yourself served.\n", "\n", "\tJordy opens the papers. Korfin puts Daphne in the car. \n", "\tWalks back over to Jordy and reads over his shoulder.\n", "\n", "\t\t\t\tKORFIN\n", "\t\tZwangendaba??? Is suing you, the\n", "\t\tdepartment and the city of New York for\n", "\t\t10 million? Who is Zwangendaba?\n", "\n", "\tJordy remembers...and gets more depressed.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThe mugger.\n", "\t\t\t\t\t\t\n", "\t\tEXT. DAPHNE'S APARTMENT BUILDING - NIGHT\n", "\n", "\tIt's an old brownstone - in poor condition. Jordy pulls up. \n", "\tOpens the door for Daphne - takes her by the elbow - steering\n", "\ther to the door. He is edgy. Jumpy. Looking around.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tAre you alright?\n", "\n", "\t\t\t\tJORDY\n", "\t\tI still can't believe Eddie's gone.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tI'm sorry.\n", "\n", "\tHe looks at her. Nods. They walk up to the stairs as the\n", "\tfront door opens. A NEIGHBOR exits, shocked. Jordy pulls\n", "\tDaphne out of the way.\n", "\n", "\t\t\t\tDAPHNE (CONT'D)\n", "\t\t\t(in Czech to the man)\n", "\t\tHello. How are you?\n", "\n", "\tINT. DAPHNE'S APARTMENT BUILDING - HALLWAY - CONTINUOUS\n", "\n", "\tJordy and Daphne make their way up the stairs. A bouquet of\n", "\tflowers are outside Daphne's apartment.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhat's this?\n", "\n", "\tShe takes the card. Jordy looks over her shoulder. Daphne\n", "\treads: \"Good luck with all your troubles. I'm here if you\n", "\tneed me...Ludwig.\"\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tIs he your boyfriend?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tLudwig? He's gay - are you jealous?\n", "\n", "\t\t\t\tJORDY\n", "\t\tIf I was your boyfriend, I might be.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tIf you were my boyfriend, I'd suggest\n", "\t\tyou find another girlfriend that isn't\n", "\t\tgoing to jail ten-thousand miles away.\n", "\n", "\tThey're staring in each other's eyes. The sexual tension\n", "\tstrong.\n", "\n", "\t\t\t\tJORDY\n", "\t\tA good Immigration lawyer could stall\n", "\t\tthe process. Eddie recommended one.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tNo matter what happens...I'm glad I met\n", "\t\tyou.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'm glad I met you.\n", "\n", "\tThey hold each other's eyes...then suddenly they kiss. \n", "\tUrgently. Passionately. Somebody is coming up the stairs. \n", "\tThey part quickly. A tenant enters his apartment down the\n", "\thall. Jordy clears his throat.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tLet's get your stuff.\n", "\n", "\tHe opens the door. Peers inside - checking it out. Turns to\n", "\ther. Gestures that it's okay to enter.\n", "\n", "\tINT. DAPHNE'S APARTMENT - CONTINUOUS\n", "\n", "\tIt's very small. Almost no furniture. The bare minimum. \n", "\tThe apartment is a hole. She looks at Jordy. Both thinking\n", "\tthe same thought. Another kiss. \n", "\n", "\t\t\t\tJORDY\n", "\t\tYou better get packed.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tRight.\n", "\n", "\tShe holds his look.\n", "\n", "\t\t\t\tJORDY\n", "\t\tDo you have coffee?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tIn the kitchen.\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'll make some for us.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tI'll get my clothes.\n", "\n", "\tShe heads down the hall. Jordy enters the small kitchen. He\n", "\tflips on the kitchen light and the LIGHTBULB EXPLODES -\n", "\tSETTING THE CEILING ON FIRE AND RELEASING A RAIN OF FIRE INTO\n", "\tTHE ROOM. Jordy JUMPS BACK.\n", "\n", "\t\t\t\tDAPHNE (CONT'D)\n", "\t\tJordy!!!\n", "\n", "\t\t\t\tJORDY\n", "\t\tNo! Get back! GET BACK!!!\n", "\n", "\tJordy's more surprised than shaken. It's a fire - he knows\n", "\tthe drill. He pushes her into the living room. Then notices\n", "\ta FIRE EXTINGUISHER hanging on the wall. Grabs it. Aims it\n", "\tat the FIRE spreading in the kitchen. He SPRAYS as Daphne\n", "\tSCREAMS!\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tThat's not mine!\n", "\n", "\tWHOOOOOOOOOSH! The fire extinguisher FEEDS THE FIRE! Flames\n", "\tleap up from the fire - shooting toward the extinguisher\n", "\tbecause it's filled with gasoline. The handle LOCKS! Jordy\n", "\tCAN'T TURN IT OFF. Flames engulf the extinguisher and\n", "\tJORDY'S HAND.\n", "\n", "\tHe flings the extinguisher - BACKS OUT OF THE KITCHEN. \n", "\tCloses the door. Jordy takes off his jacket. Stuffs it\n", "\tunder the bottom of the door. Blocking the smoke. He\n", "\thurries into the living room. Knowing it's moments before\n", "\tthe extinguisher will explode. Jordy pulls out his cellular. \n", "\tHits the speed dial as he notices Daphne about to throw a\n", "\tchair through the window.\n", "\n", "\t\t\t\tJORDY\n", "\t\tDon't! It'll suck the flames toward us!\n", "\n", "\tToo late. She SMASHES the window. There's an EXPLOSION in\n", "\tthe kitchen. Smoke and fire rush down the hallway and along\n", "\tthe ceiling. Jordy yells into the phone:\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tThis is Jordan Warsaw! We got a 1075,\n", "\t\tmake it quick, we're trapped! 8th\n", "\t\tAvenue and 44th Street.\n", "\n", "\tHe pulls Daphne toward the bedroom. It's locked. Jordy\n", "\tkicks it open. Grabs the comforter off the bed. Shoves that\n", "\tunder the door jam. He pulls Daphne into the bathroom. \n", "\tShuts the door. Runs his severely burned hand under the cold\n", "\twater. Daphne looks out the window - hearing the sirens. \n", "\tShe notices someone has nailed the window shut. And on top\n", "\tof one nail...is Eddie's gold shield.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tOh my G-d! Oh my G-d!\n", "\n", "\tJordy turns - sees Eddie's shield.\n", "\n", "\t\t\t\tDAPHNE (CONT'D)\n", "\t\tThey were here!\n", "\n", "\tThis freaks her out. They were in her home. She starts to\n", "\tpanic.\n", "\n", "\t\t\t\tJORDY\n", "\t\tCalm down. Get a hold of yourself! Get\n", "\t\tdown!\n", "\n", "\tHe pulls aside the curtain to the bathtub. In it is a CAN OF\n", "\tGASOLINE. A virtual bomb.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tOh Jesus!\n", "\n", "\tDaphne reaches for the can of gasoline.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tWhat are you doing?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tPouring it out!\n", "\n", "\tShe grabs the can of gasoline - pours it down the drain. The\n", "\tFIRE is raging outside the bathroom. The bathroom door is\n", "\tbeginning to smoke and burn. They are trapped.\n", "\n", "\tJordy turns - grabs an exposed water pipe that runs up the\n", "\twall to the ceiling. He throws his feet against the wall for\n", "\tleverage. Pulls with all his might to break it loose. It's\n", "\tcreaking - but he's having a hard time with it.\n", "\n", "\t\t\t\tDAPHNE (CONT'D)\n", "\t\tOh shit!\n", "\n", "\tJordy looks over. The gasoline she's pouring out - is not\n", "\tgoing down the drain. It's stopped up. As soon as the fire\n", "\tgets in the bathroom, everything will explode!\n", "\n", "\tJordy begins pulling at the rusty pipe with all his might. \n", "\tDaphne comes over - helps him. Both of them trying to break\n", "\tit off. Suddenly it snaps and water POURS into the room. \n", "\tSOAKING THE WALLS. They point the pipe toward the door,\n", "\tsoaking some of the flames which are consuming the door. \n", "\tTrying to stop the fire from coming in. He and Daphne are\n", "\tdrenched. And trapped.\n", "\n", "\tJordy grabs a broken piece of pipe. Starts SMASHING the wall\n", "\tbehind them. The wall to the adjacent apartment.\n", "\n", "\tVIDEO POV\n", "\n", "\tJordy and Daphne in the bathroom - surrounded by fire. \n", "\tCAMERA WHIP PANS down the street as FIRE ENGINES arrive.\n", "\n", "\tOLEG\n", "\n", "\tis VIDEOTAPING them from the opposite rooftop. Tenants from\n", "\tDaphne's building are fleeing down the fire escape. Emil\n", "\tstands in back of Oleg - who is very excited. He turns the\n", "\tcamera on himself.\n", "\n", "\t\t\t\tOLEG\n", "\t\tThis is great film! You can see fire\n", "\t\tright now - Daphne is in fire - Fire\n", "\t\tMarshal is here. Everything is so\n", "\t\tmessy. Everything is so crazy right\n", "\t\there! Look at this fire! We made it! \n", "\t\t90% of people who die in fire die from\n", "\t\teating smoke. So most likely they all\n", "\t\tdie from eating smoke.\n", "\n", "\tThe CAMERA PANS to Emil.\n", "\n", "\t\t\t\tOLEG (CONT'D)\n", "\t\tAnd this is the man who started the\n", "\t\tfire. Say something to your fans, Emil!\n", "\n", "\tEmil waits a beat and then blows a kiss to the lens.\n", "\n", "\tDAPHNE'S BATHROOM\n", "\n", "\tFilled with smoke. You can barely see Jordy or Daphne. \n", "\tJordy SMASHES a hole in the wall - which reveals the bathroom\n", "\tin the apartment next door. The smoke has a place to escape. \n", "\tThere's a 7-year old KID in there. Standing in the bathroom. \n", "\tTerrified.\n", "\n", "\t\t\t\tJORDY\n", "\t\tGet back! Get out of the bathroom! \n", "\t\tRun!\n", "\n", "\t\t\t\t7-YEAR OLD KID\n", "\t\tThe hallway is on fire!\n", "\n", "\t\t\t\tJORDY\n", "\t\tIt's okay. I'm a fireman. I'm going to\n", "\t\thelp you. Get back! Now!\n", "\n", "\tJordy pushes Daphne through the wall - turns as the bathroom\n", "\tdoor catches fire. It's seconds before the whole room will\n", "\tblow up.\n", "\n", "\tOLEG\n", "\n", "\tAcross the roof is videotaping the bathroom as it EXPLODES!\n", "\n", "\tEXT. STREET - CONTINUOUS\n", "\n", "\tFire engines have arrived. The street is filled with\n", "\tgawkers. Garcia and Korfin pull up just as Jordy runs from\n", "\tthe building - holding the kid in one arm and pulling Daphne\n", "\twith the other. Carefully guarding his bandaged hand. A\n", "\tfireman grabs the kid. Another grabs Daphne. Garcia and\n", "\tKorfin run to Jordy.\n", "\n", "\t\t\t\tGARCIA\n", "\t\tJordy! What the hell happened?!\n", "\n", "\t\t\t\tKORFIN\n", "\t\tAre you alright, man? Lemme see the\n", "\t\thand!\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhere's Daphne? Daphne?\n", "\n", "\tHe spots Daphne on the corner as a familiar voice pushes\n", "\tthrough the crowd.\n", "\n", "\t\t\t\tVOICE\n", "\t\tIsn't she a beauty? She's my fire, look\n", "\t\tat that loom-up on her!\n", "\n", "\tJordy turns - it's Max. The attention pyromaniac who Jordy\n", "\tthrew out of his office. As a news crew arrives, Max turns\n", "\tto the cameras.\n", "\n", "\t\t\t\tMAX\n", "\t\tI did this! I did this! Take my\n", "\t\tpicture! I'm Max! Max Gornick!\n", "\n", "\tJordy grabs Max - pushes him away.\n", "\n", "\t\t\t\tJORDY\n", "\t\tGet outta here!\n", "\n", "\t\t\t\tKORFIN\n", "\t\tWhat the hell happened?\n", "\n", "\t\t\t\tJORDY\n", "\t\tThey were inside. They booby trapped\n", "\t\ther apartment!\n", "\n", "\tKorfin scans the crowd. Looking for Emil and Oleg. In the\n", "\tb.g., Duffy is SCREAMING.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tWhat the hell are you talking about??? \n", "\t\tThey're gonna do what?\n", "\n", "\tJordy and Korfin turn. The Chief has a phone to his ear and\n", "\tis freaked.\n", "\n", "\tINT. LOBBY OF CHANNEL 12 BROADCASTING - NIGHT\n", "\n", "\tJORDY'S POV\n", "\n", "\tas he enters the TV station. His clothes burnt and still\n", "\twet. The lobby's full of ANGRY COPS. Tommy and Leon, still\n", "\tin his funeral suit, SCREAMING above them all at Maggie the\n", "\tproducer and her ASSISTANT, who are standing behind the desk.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tWhere is he?! Where is Hawkins?!\n", "\n", "\t\t\t\tMAGGIE\n", "\t\tHe's not on the premises!\n", "\n", "\t\t\t\tLEON\n", "\t\tI want the tape. Go get it and bring it\n", "\t\there this minute.\n", "\n", "\t\t\t\tMAGGIE\n", "\t\tAny request for the video must be\n", "\t\tdirected to \"Top Story's\" attorney -\n", "\t\tBruce Cutler. I'll be happy to give you\n", "\t\this number.\n", "\n", "\tLeon jumps over the desk where Maggie stands. Tommy pushes\n", "\tpast the security guard to follow Leon. They continue toward\n", "\tMaggie, pushing her further back into the office. She tries\n", "\tto protect herself with an office door which Leon slams open.\n", "\n", "\t\t\t\tLEON\n", "\t\tLady, if you put Eddie's murder on TV,\n", "\t\tI'll get a warrant for your arrest and\n", "\t\tshove it so far up your ass it'll come\n", "\t\toutta your mouth!\n", "\n", "\t\t\t\tMAGGIE\n", "\t\tI want your shield number!\n", "\n", "\t\t\t\tHAWKINS (O.S.)\n", "\t\tViewer discretion advised!\n", "\n", "\t\t\t\tMAGGIE\n", "\t\t\t(pointing at the TV)\n", "\t\tYou want the tape? There it is!\n", "\n", "\tLeon, Tommy, all the cops and Jordy - turn toward a TV set\n", "\twhich is mounted in the lobby. The \"Top Story\" logo flashes\n", "\ton the screen, then Robert Hawkins is seen behind his desk.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tWhat we are about to broadcast is very\n", "\t\tgraphic footage...\n", "\n", "\tEveryone is riveted. But Jordy notices outside...a \"Top\n", "\tStory\" NEWS VAN is waiting in the alley. Robert Hawkins\n", "\tjumps from a doorway and into the van. Jordy backs out.\n", "\n", "\tINT. PLANET HOLLWYOOD - NIGHT\n", "\n", "\tPOP...a video POV of a bottle of Crystal as the cork is\n", "\tpopped. The videocamera pans up to Emil sitting at the\n", "\ttable. He nods at the waiter who leaves. Emil raises the\n", "\tglass - looking into the lens.\n", "\n", "\t\t\t\tEMIL\n", "\t\tAmerica! Who says you can't be success\n", "\t\tin America? I arrived with nothing,\n", "\t\tknowing nobody - now look - I am a\n", "\t\tsuccess story!\n", "\n", "\tThe videocamera is lowered. Oleg turns it off. Asks\n", "\tsuspiciously.\n", "\n", "\t\t\t\tOLEG\n", "\t\tYou are success story? I am success\n", "\t\tstory! Why do you say I and not we?\n", "\n", "\t\t\t\tEMIL\n", "\t\tOleg, don't be paranoid. You got a\n", "\t\thundred-fifty thousand dollars, didn't\n", "\t\tyou? I gave you half of what they gave\n", "\t\tme. Look - here we are!\n", "\n", "\tEmil gestures toward the big television set. We are in\n", "\tPlanet Hollywood - where diners and those by the bar can\n", "\twatch a huge screen hanging from the ceiling. Robert Hawkins\n", "\tis introducing his show.\n", "\n", "\t\t\t\tHAWKINS (ON T.V.)\n", "\t\tGood evening. Welcome to \"Top Story\". \n", "\t\tTonight, I present to you material of a\n", "\t\tgraphic and violent nature never before\n", "\t\tseen on television. And I do so with a\n", "\t\theavy heart. You will be first-hand\n", "\t\twitness to the slaying of celebrated New\n", "\t\tYork City Homicide Detective, Eddie\n", "\t\tFlemming. It would be only normal to\n", "\t\task, why? Why are we showing something\n", "\t\tso journalist, I must show it. A\n", "\t\tdemocracy survives through the freedom\n", "\t\tof its media, and if we cannot see what\n", "\t\tis happening then we don't deserve our\n", "\t\tdemocracy, or our freedom. Eddie\n", "\t\tFlemming was my friend. I cried when I\n", "\t\twatched this footage and vowed to fight\n", "\t\tthis violence with every molecule of my\n", "\t\tbeing from this day onward. Hopefully,\n", "\t\tthis will have a similar effect on you. \n", "\t\tOne final word, this material is\n", "\t\tabsolutely not appropriate for children.\n", "\n", "\tThe restaurant BUZZES. Emil checks his watch.\n", "\n", "\t\t\t\tOLEG\n", "\t\tIn movie they make of us, who do you\n", "\t\tthink would act me?\n", "\n", "\t\t\t\tEMIL\n", "\t\tThe one who got caught in the bathroom.\n", "\t\t\t(beat)\n", "\t\tGeorge Michael.\n", "\n", "\tEmil laughs. Oleg doesn't.\n", "\n", "\t\t\t\tOLEG\n", "\t\tI'm serious.\n", "\n", "\t\t\t\tEMIL\n", "\t\tShut up. Look!\n", "\n", "\tEmil points towards the TV. \"Top Story\" is continuing. The\n", "\tscene cuts to Emil's video footage. Eddie is handcuffed to\n", "\tthe chair. The light illuminating his face.\n", "\n", "\t\t\t\tOLEG (O.S.)\n", "\t\tThis is my project. I say 'action.' I\n", "\t\tam the director! You are the talent. \n", "\t\tYou wait for me to say 'action.'\n", "\t\t\t(beat)\n", "\t\tAnd 'action!'\n", "\n", "\t\t\t\tEMIL\n", "\t\tBad last moment - I cut it out.\n", "\n", "\tEmil looks at Oleg - furious.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tI told you to cut that out before we\n", "\t\thanded in the tape!\n", "\n", "\t\t\t\tOLEG\n", "\t\tBe quiet. Watch.\n", "\n", "\tOleg watches the big-screen TV as Emil raises the pistol to\n", "\tEddie's temple. Eddie pushes him over the desk. Eddie then\n", "\tknocks Emil with the chair and Emil falls off the desk onto\n", "\tthe floor. Eddie continues around with the chair and drives\n", "\tOleg back across the room - pinning him to the wall. Eddie\n", "\tand Emil both go for the gun. Eddie knocks him out of the\n", "\tway. Stabs him with the legs of the chair repeatedly. \n", "\tLeaves him in a ball on the floor. Oleg comes at Eddie and\n", "\the knocks Oleg over the coffee table and onto the sofa. The\n", "\tblinds and lamp shade are shot - bathing the room with more\n", "\tlight. Emil stabs Eddie in the stomach. Oleg kneels down\n", "\tfor a CLOSE-UP.\n", "\n", "\t\t\t\tEMIL\n", "\t\tDie. Die.\n", "\n", "\tEXT. TIMES SQUARE - CONTINUOUS\n", "\n", "\tHawkins' van drives across Times Square. Jordy's car\n", "\tfollowing. We WIDEN OUT... Eddie's murder is being broadcast\n", "\ton the JUMBOTRON in Times Square. People stare up - stunned.\n", "\n", "\tINT. PLANET HOLLWYOOD - CONTINUOUS\n", "\n", "\tThe dinner patrons are watching TV. Shocked. Emil glares at\n", "\tOleg.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhy did you leave that stuff in about\n", "\t\tyou being the director?\n", "\n", "\t\t\t\tOLEG\n", "\t\tBecause I am the director. Don't you\n", "\t\trealize, if it wasn't for my film, for\n", "\t\tmy talent, my idea to do this - no way\n", "\t\twould we be sitting here right now.\n", "\n", "\t\t\t\tEMIL\n", "\t\tYour idea? I thought it was my idea.\n", "\n", "\tOleg tenses. Emil laughs.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tAren't you just the cameraman?\n", "\n", "\tOleg doesn't laugh.\n", "\n", "\t\t\t\tOLEG\n", "\t\tI'm serious...this - this is a great\n", "\t\tAmerican film. Full of violence and\n", "\t\tsex. And I want my credit.\n", "\n", "\t\t\t\tEMIL\n", "\t\tCredit?\n", "\n", "\t\t\t\tOLEG\n", "\t\tYes. Before we hand in the next video -\n", "\t\tI put titles on it and my credit is\n", "\t\tgoing to read - Directed by Oleg Razgul.\n", "\n", "\t\t\t\tEMIL\n", "\t\tYes. But there's only one problem - you\n", "\t\twant credit but the problem is - I don't\n", "\t\tshare credit.\n", "\n", "\tOleg is pissed.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tYou got that?\n", "\n", "\t\t\t\tOLEG\n", "\t\tNo, I don't get that!\n", "\n", "\t\t\t\tEMIL\n", "\t\tYou think you are a director? You are a\n", "\t\tfucking little, small Russian piece of\n", "\t\tshit. And I hate you. I fucking hate\n", "\t\tyou.\n", "\n", "\tEmil slaps Oleg across the face. Oleg stands up. Emil\n", "\tsuddenly pulls out Eddie's gun but before he can pull the\n", "\ttrigger, Oleg STABS Emil in the arm! Emil squeezes off a\n", "\tshot through the crowded restaurant. Patrons SCREAM - Oleg\n", "\truns through the restaurant, escaping. It's chaos. \n", "\tHawkins arrives with a crew and with BRUCE CUTLER, a\n", "\tconfident, tough criminal attorney.\n", "\n", "\tEmil pulls the steak knife out of his arm, picks up a napkin -\n", "\tpressing it to his wound.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tOh, hello.\n", "\n", "\tCutler accesses the situation.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tAre you my attorney?\n", "\t\t\t(extends his hand to Cutler)\n", "\t\tI'm Emil. I'm insane.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tI'm not your lawyer until I see the\n", "\t\tmoney.\n", "\n", "\t\t\t\tEMIL\n", "\t\tHere. I have your money.\n", "\n", "\tEmil picks up a briefcase and hands it to Cutler. Cutler\n", "\topens it - inside is the cash Emil got from Robert Hawkins. \n", "\tEmil looks at the table, pushing the plates and silverware\n", "\taside. Emil looks under the table, throwing the chair aside,\n", "\tfreaking. He's lost the most important thing in his life.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tOh no! No! Shit!\n", "\n", "\t\t\t\tCUTLER\n", "\t\t\t(follows Emil - reaching out to\n", "\t\t\t him)\n", "\t\tEmil. Take it easy. Stay with me. Sit\n", "\t\tdown. What do you need? What are you\n", "\t\tlooking for?\n", "\n", "\t\t\t\tEMIL\n", "\t\tHe has the camera! He took the movie!\n", "\n", "\tJordy comes in, gun raised.\n", "\n", "\t\t\t\tJORDY\n", "\t\tDon't move! Don't move! Get your hands\n", "\t\tup! Drop it!\n", "\n", "\tEmil puts his hands in the air. Immediately drops the gun!\n", "\n", "\t\t\t\tEMIL\n", "\t\tI give up!\n", "\n", "\tJordy is disappointed! He didn't want to take Emil alive. \n", "\tHawkins signals to his camera man, who swings his camera at\n", "\tJordy as he approaches Emil, his gun aimed at Emil's head.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tThis man is unarmed, officer. He's\n", "\t\tsurrendered.\n", "\n", "\tJordy cracks Emil across the face - knocking him down.\n", "\n", "\t\t\t\tCUTLER (CONT'D)\n", "\t\tWhat are you hitting him for?\n", "\n", "\t\t\t\tJORDY\n", "\t\tTurn that camera off!\n", "\n", "\tJordy handcuffs him. Emil turns to the camera for sympathy,\n", "\tappearing more hurt than he is.\n", "\n", "\t\t\t\tEMIL\n", "\t\tNo. Keep filming...\n", "\n", "\tJordy realizes how media savvy Emil is and understands in\n", "\tthat moment why he's surrendering. Jordy yanks Emil up -\n", "\tdragging him across the restaurant floor - Emil still\n", "\tfavoring his ankle.\n", "\n", "\t\t\t\tCUTLER\n", "\t\t\t(to Emil)\n", "\t\tDon't say anything.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhere are we going?\n", "\n", "\t\t\t\tCUTLER\n", "\t\tI'm coming with you.\n", "\n", "\t\t\t\tEMIL\n", "\t\tYes. Yes, come with me!\n", "\n", "\t\t\t\tCUTLER\n", "\t\t\t(to Jordy)\n", "\t\tI'm invoking rights - this man is\n", "\t\trepresented by counsel. I'm coming with\n", "\t\thim.\n", "\n", "\tThe \"Top Story\" crew is all over them, filming everything. \n", "\tCutler stays close to Emil. Making sure he's in the video\n", "\tfootage.\n", "\n", "\t\t\t\tJORDY\n", "\t\tTurn that camera off!\n", "\n", "\tEXT. PLANET HOLLWYOOD - CONTINUOUS\n", "\n", "\tAs Jordy comes out with a limping Emil, police are arriving. \n", "\tTommy, Leon and Murphy run over as Jordy opens the back door\n", "\tto his car. Leon grabs Emil.\n", "\n", "\t\t\t\tLEON\n", "\t\tI'll take him.\n", "\n", "\t\t\t\tJORDY\n", "\t\tNo way! He's mine!\n", "\n", "\t\t\t\tLEON\n", "\t\t\t(holding on to Emil, squeezing\n", "\t\t\t his arm hard)\n", "\t\tWe're takin' him. Don't argue!\n", "\n", "\t\t\t\tJORDY\n", "\t\tHe's my collar!\n", "\n", "\t\t\t\tLEON\n", "\t\tWell, he killed my partner!\n", "\n", "\t\t\t\tJORDY\n", "\t\tHe's yours but I take him in! I'll\n", "\t\tdrive him to the precinct, you can have\n", "\t\thim but I'm walkin' him in.\n", "\n", "\tLeon realizes Jordy wants to be seen on TV taking Emil into\n", "\tcustody.\n", "\n", "\t\t\t\tLEON\n", "\t\tOkay, kid, have your 15-minutes. I'll\n", "\t\tfollow you. Tommy, you ride with him!\n", "\n", "\tLeon stares hatefully into Emil's eyes.\n", "\n", "\t\t\t\tLEON (CONT'D)\n", "\t\tYou're goin' down, motherfucker, you are\n", "\t\tgoin' down. I'll be there with a smile\n", "\t\twhen they put you down!\n", "\n", "\tCutler hurries to Emil's side.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tDon't say a word. Don't respond to his\n", "\t\ttaunting!\n", "\t\t\t(to Leon)\n", "\t\tHe's represented by counsel. You want\n", "\t\tto speak to someone - you speak to me!\n", "\n", "\t\t\t\tTOMMY\n", "\t\tOut of the way, counselor.\n", "\n", "\tTommy shoves Cutler aside.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tDon't you put your hands on me,\n", "\t\tDetective.\n", "\n", "\tJordy pushes Emil in the back seat and slams the door. Leon\n", "\tturns to Hawkins, whose cameras are filming everything.\n", "\n", "\t\t\t\tLEON\n", "\t\tAnd you, you'll pay for what you did!\n", "\n", "\t\t\t\tHAWKINS\n", "\t\t\t(low)\n", "\t\tThis footage will work in your favor. \n", "\t\tWhen the jury sees this - no matter what\n", "\t\tCutler tries, they'll convict him.\n", "\n", "\tLeon looks at him. This man used to be his friend.\n", "\n", "\t\t\t\tLEON\n", "\t\tYou outta be ashamed. Ashamed of\n", "\t\tyourself.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tIf I didn't put it on somebody else\n", "\t\twould! I was his friend!\n", "\n", "\t\t\t\tLEON\n", "\t\tDon't give me that fucking shit.\n", "\n", "\tThe cameras are rolling.\n", "\n", "\t\t\t\tMURPHY\n", "\t\tDon't get into it on TV.\n", "\n", "\t\t\t\tLEON\n", "\t\t\t(yells to other cop cars)\n", "\t\tAlright, let's get going!\n", "\n", "\tLeon and the other cops rush to their cars. Jordy is already\n", "\tbehind the wheel. As soon as Tommy jumps in the passenger\n", "\tseat, Jordy takes off. The cameras film him driving away.\n", "\t\t\n", "\tINT. JORDY'S CAR - NIGHT\n", "\n", "\tJordy takes a left turn, racing away. Running all the\n", "\tlights.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tWhat are you doin'? You're gonna lose\n", "\t\teverybody!\n", "\n", "\tJordy rips through another turn, heading toward the West Side\n", "\tHighway. The car speeds up the ramp and races up the left\n", "\tlane - having lost the police.\n", "\n", "\t\t\t\tTOMMY (CONT'D)\n", "\t\tWhere are you goin'?? This ain't the\n", "\t\tway to the station!\n", "\n", "\tJordy looks up at Emil in the rear view mirror.\n", "\n", "\tEXT. WEST SIDE HIGHWAY EXIT - CONTINUOUS\n", "\n", "\tJordy pulls off on 130th Street. They are way uptown in the\n", "\tmiddle of nowhere. The car drives down a dark street. \n", "\tCrumbled, vacant buildings dominate the streets and there are\n", "\tno people around.\n", "\n", "\tEXT. DESERTED STREET - CONTINUOUS\n", "\n", "\tThe car slows down. Tommy watches Jordy, realizes what's\n", "\tgoing on. Jordy stops at a dead end. Pulls open the back\n", "\tdoor, yanks Emil out and starts to drag him up into the\n", "\tdeserted tunnel.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tJordy...??? Listen to me. You can't do\n", "\t\tthis. This isn't the way to do things.\n", "\n", "\tJordy ignores Tommy, slamming him up against the tunnel wall.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWere you a fireman? That how you knew\n", "\t\thow to rig the apartment?\n", "\n", "\t\t\t\tEMIL\n", "\t\tMy father was. He gave me many lessons\n", "\t\tabout fire. Now it's my friend.\n", "\n", "\t\t\t\tJORDY\n", "\t\tTommy, take a walk.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tWhat are you gonna do?\n", "\n", "\t\t\t\tJORDY\n", "\t\tDon't you get it? He knew he was gonna\n", "\t\tget caught! That's why he videotaped\n", "\t\tEddie's murder - he thinks he's gonna\n", "\t\tget off.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tDon't stoop to his level!\n", "\n", "\tJordy tosses the car keys to Tommy.\n", "\n", "\t\t\t\tJORDY\n", "\t\tTake the car. Get outta here, Tommy.\n", "\n", "\t\t\t\tTOMMY\n", "\t\tLook, you can't shoot him in cold blood.\n", "\n", "\t\t\t\tJORDY\n", "\t\t\t(erupting)\n", "\t\tGET OUTTA HERE NOW!! GET IN THAT CAR\n", "\t\tAND DRIVE AWAY!!! DO WHAT I SAY OR I'LL\n", "\t\tKILL YOU, TOO!!!\n", "\n", "\tTommy nervously backs up toward Jordy's car. Climbs behind\n", "\tthe wheel and drives away, leaving Jordy and Emil alone in\n", "\tthe darkness. Jordy takes out Eddie's pistol. The one Emil\n", "\ttook from Eddie. Jordy opens the cylinder - two bullets\n", "\tleft. Jordy snaps the cylinder shut, tucks Eddie's gun in\n", "\tEmil's belt. He drags Emil away from the wall, into the\n", "\tcenter of the empty space - unlocks Emil's handcuffs and\n", "\tthrows them aside. Still holding the gun on Emil, he circles\n", "\taround to face him.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tGet your hands up! Get your hands up!\n", "\n", "\tNow facing Emil, he sticks his gun in his waistband - the\n", "\tsame place he put Emil's.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tYou wanna be a real American? Go for\n", "\t\tyour gun.\n", "\n", "\tEmil holds his arms out - making it clear he's not going for\n", "\tthe gun.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tPull the gun! You want to be famous? \n", "\t\tShoot me, you'll get more headlines and\n", "\t\tmake more money.\n", "\n", "\tEmil watches Jordy...a slow grin spreads across his face.\n", "\n", "\t\t\t\tEMIL\n", "\t\tYou can't kill me. You're not a cop. \n", "\t\tJust fireman with a gun. I bet you\n", "\t\tnever shot anybody in your life.\n", "\n", "\t\t\t\tJORDY\n", "\t\tYou'll be my first.\n", "\n", "\tJordy pulls out his 9mm and pushes the barrel right between\n", "\tEmil's eyes.\n", "\n", "\t\t\t\tEMIL\n", "\t\tC'mon. Pull the trigger. Do it. Oh,\n", "\t\tlook, you're sweating. You don't have\n", "\t\tthe balls.\n", "\n", "\t\t\t\tJORDY\n", "\t\tGet down on your knees.\n", "\n", "\tEmil gets on his knees and starts to sing in Czech. SIRENS\n", "\tfill the air. Police cars come flying down the street.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tWhere's your partner?\n", "\n", "\t\t\t\tEMIL\n", "\t\tThe Sheraton! On Broadway! Room 210. \n", "\t\tGo get Oleg. He'll kill you.\n", "\n", "\tLeon runs up. Tommy's relieved to see Jordy didn't kill\n", "\tEmil.\n", "\n", "\t\t\t\tLEON\n", "\t\tGimme your gun, Jordy. We all want him\n", "\t\tdead but you can't do it this way.\n", "\n", "\tEmil is still smiling. Jordy suddenly slams Emil in the\n", "\tface. Knocking him to the floor. He jumps in his car and\n", "\tspeeds away.\n", "\t\t\n", "\t\tINT. BROADWAY SHERATON - 2ND FLOOR HALLWAY - NIGHT\n", "\n", "\tA room service WAITER wheels a tray with a magnum bottle of\n", "\tCrystal, with three glasses, toward Oleg's room. Jordy\n", "\tfollows behind him - gun aimed at his back.\n", "\n", "\t\t\t\tWAITER\n", "\t\tDo you really need me?\n", "\n", "\t\t\t\tJORDY\n", "\t\tKeep your mouth shut. Don't mess this\n", "\t\tup.\n", "\n", "\tThey reach the room. Jordy flattens himself against the\n", "\twall. The waiter KNOCKS.\n", "\n", "\t\t\t\tHOOKER'S VOICE\n", "\t\tWho's there?\n", "\n", "\t\t\t\tWAITER\n", "\t\t\t(nervous)\n", "\t\tR-room service.\n", "\n", "\tA HOOKER, wrapped in a towel, opens the door a crack, looking\n", "\tout at the waiter.\n", "\n", "\t\t\t\tHOOKER\n", "\t\tCome in.\n", "\n", "\tJordy whips around the corner - pointing his gun and pushing\n", "\tthe hooker back out of the room. Jordy moves to the bedroom\n", "\tdoor. Peers through the crack. Oleg sits on the edge of the\n", "\tbed in his skivvies with two naked prostitutes. He's hooked\n", "\tup his videocamera to the TV set and is showing them his\n", "\tfootage of the fire.\n", "\n", "\t\t\t\tOLEG\n", "\t\tLook at that. See that shot! Seamless. \n", "\t\tNo cuts.\n", "\t\t\t(excited)\n", "\t\tAnd look. Look at that transition. \n", "\t\tThat's filmmaking!! Isn't it great?!\n", "\n", "\tJordy KICKS in the door - gun raised.\n", "\n", "\t\t\t\tJORDY\n", "\t\tDon't move!\n", "\n", "\tOleg grabs the videocamera. Has on hooker in a head lock and\n", "\tpicks up the other one. He rushes at Jordy - using one of\n", "\tthe hookers for protection.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tDrop the girl! Drop her!!\n", "\n", "\tOleg pushes the hookers at Jordy - knocking Jordy back into\n", "\tthe living room and over the back of the sofa. Oleg rushes\n", "\tout into the\n", "\n", "\tHOTEL HALLWAY\n", "\n", "\tOleg runs to the fire exit - Jordy follows, chasing Oleg down\n", "\tthe stairwell.\n", "\n", "\tEXT. BROADWAY - NIGHT\n", "\n", "\tOleg bursts out a door which opens onto Broadway. He runs\n", "\tthrough the crowd - knocking pedestrians aside! Jordy chases\n", "\thim, gun in hand!\n", "\n", "\tOleg runs into the street, darting in and out of traffic,\n", "\tcars braking to a stop. One SLAMS into another. \n", "\tJordy leaps over a car, closing in on Oleg. People gawk. \n", "\tEven in New York, it's odd to see a man being chased in his\n", "\tunderwear. Oleg runs, knocking people aside. He's holding\n", "\tthe camera in his hand. It's on.\n", "\n", "\t\t\t\tJORDY\n", "\t\tSTOP! STOP THAT MAN!\n", "\n", "\tA UNIFORMED COP turns as Oleg runs right into him. Knocking\n", "\thim down. Oleg beats him, takes his gun and runs into:\n", "\n", "\tINT. MOVIE THEATER LOBBY - CONTINUOUS\n", "\n", "\tOleg, gun in hand, runs past the TICKET TAKER at the door.\n", "\n", "\t\t\t\tTICKET TAKER\n", "\t\tHey, come back here!\n", "\n", "\tThe ticket taker runs after Oleg who continues past the candy\n", "\tcounter. Jordy rushes in the door.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhere is he? Where'd he go?\n", "\n", "\t\t\t\tTICKET TAKER\n", "\t\tMiddle door.\n", "\n", "\tJordy continues running through the lobby - past the middle\n", "\tdoor - and enters the theater through the far door.\n", "\n", "\tINT. MOVIE THEATER - NIGHT\n", "\n", "\tJordy enters the theater, crouches down in the aisle. It's a\n", "\tnight scene, the theater is dark. Jordy tries to see faces. \n", "\tHe cuts through a row of seats to the middle aisle.\n", "\n", "\t\t\t\tDRUNK'S VOICE\n", "\t\tKill him! Kill the bastard!\n", "\n", "\tJordy spins toward the voice - it's a DRUNK. Others start\n", "\tYELLING for blood!\n", "\n", "\t\t\t\tAUDIENCE\n", "\t\tShoot him! SHOOT!\n", "\n", "\tA GUNSHOT! Jordy ducks! Another GUNSHOT! Jordy realizes\n", "\tthe shots are coming from the screen.\n", "\n", "\t\t\t\tOLEG\n", "\t\tLook! Over here!\n", "\n", "\tJordy turns. Oleg stands up and FIRES at him - trying to\n", "\tfilm Jordy's death with a videocamera. \n", "\tJordy ducks, then rises up with his gun as Oleg vaults over\n", "\tthe seats, leaping from one to the other, mashing shoulders\n", "\tand heads, bounding for the screen.\n", "\n", "\t\t\t\tJORDY\n", "\t\tEverybody down! Stay DOWN!\n", "\n", "\tJordy FIRES as the screen villain blasts away. Some in the\n", "\taudience don't realize the real thing is happening. Oleg\n", "\tleaps on the stage in front of the screen, illuminated by it. \n", "\tJordy runs down the aisle. Oleg FIRES at Jordy. Jordy FIRES\n", "\tback. People panic - scurrying away - Jordy can't get a\n", "\tclear shot. Oleg FIRES again, wounding a moviegoer. Jordy\n", "\traises up as the theater lights go on...and Oleg is gone! \n", "\tJordy jumps on the stage - runs backstage - Oleg has\n", "\tdisappeared.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tShit!\n", "\n", "\tSIRENS are heard from outside. VOICES of cops are heard as\n", "\tthey enter.\n", "\n", "\tCLOSE ON TV\n", "\n", "\tA REPORTER is in Times Square, reports from outside the movie\n", "\ttheater.\n", "\n", "\t\t\t\tREPORTER (ON T.V.)\n", "\t\t...and the wild chase through Times\n", "\t\tSquare ended with the suspect, Oleg\n", "\t\tRazgul, escaping. The fire department\n", "\t\thas identified the fire marshal involved\n", "\t\tin the failed pursuit as Jordy Warsaw.\n", "\n", "\tThe channel is changed. PETER ARNETT is reporting the same\n", "\tstory.\n", "\n", "\t\t\t\tPETER ARNETT (ON T.V.)\n", "\t\tIn a related matter, Mr. Slovak's\n", "\t\tattorney, Bruce Cutler - famous for\n", "\t\thandling sensational cases - claims his\n", "\t\tclient is unfit to stand trial.\n", "\n", "\tINT. JAIL CELL - WIDER - DAY\n", "\n", "\tDaphne sitting on a bench in a jail cell. Watching TV\n", "\tthrough the bars. She is in the fire department's holding\n", "\tcell in Brooklyn.\n", "\n", "\t\t\t\tPETER ARNETT (ON T.V.)\n", "\t\tIn fact, Cutler claimed Mr. Slovak was\n", "\t\tnot the alleged mastermind behind the\n", "\t\tmurders. \n", "\t\tAccording to Cutler, Mr. Slovak was\n", "\t\tbeing directed by his partner, who\n", "\t\tthreatened to kill him if he didn't\n", "\t\tfollow Mr. Razgul's orders. Cutler told\n", "\t\treporters today that Mr. Razgul did in\n", "\t\tfact stab his client.\n", "\n", "\tThe scene CUTS TO Cutler's press conference.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tMy client, Mr. Slovak, is a victim. \n", "\t\tWhat's happened is not his fault. Emil\n", "\t\twas under the influence of his partner. \n", "\t\tAt the trial, you'll see that my client\n", "\t\twill be vindicated...\n", "\n", "\tINT. BELLEVUE - MENTAL OBSERVATION UNIT - DAY\n", "\n", "\tThe CAMERA WIDENS from the TV set. We are now in an\n", "\tinterview room, a guard is posted outside the room. Emil\n", "\tsits at a small table - with Cutler. Emil is dressed in\n", "\tBellevue clothes. He's handcuffed and his ankle is bandaged. \n", "\tEmil gives a complimentary nod toward Cutler.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tI brought you some letters. It's really\n", "\t\tfan mail. Women mostly. One wants to\n", "\t\tbuy you clothes, another sent a check. \n", "\t\tAnother wants a check.\n", "\n", "\t\t\t\tEMIL\n", "\t\tYou bring the cigarettes?\n", "\n", "\t\t\t\tCUTLER\n", "\t\tOh, sure.\n", "\n", "\tCutler shakes a cigarette out of the pack, stuffs it in\n", "\tEmil's mouth and lights it for him. Emil has never smoked\n", "\tbefore.\n", "\n", "\t\t\t\tCUTLER (CONT'D)\n", "\t\tHow're they treating you, alright\n", "\t\t\t(Emil is nonresponsive)\n", "\t\tI want to get the cuffs off... but\n", "\t\tthere's a little bit of a problem. \n", "\t\tThings out there are very negative right\n", "\t\tnow for us. We gotta change that\n", "\t\taround. Perception is very, very\n", "\t\timportant. Perception is reality. I\n", "\t\tknow you're not fuckin' crazy. But it's\n", "\t\timportant that I get that message out. \n", "\t\tCause that's our only defense in this\n", "\t\tcase.\n", "\n", "\tEmil leans forward. Cutler retrieves the cigarette from\n", "\tbetween his lips.\n", "\n", "\t\t\t\tCUTLER (CONT'D)\n", "\t\tI want you to focus on three things:\n", "\t\tfear...\n", "\n", "\tHe puts the cigarette back in Emil's mouth.\n", "\n", "\t\t\t\tCUTLER (CONT'D)\n", "\t\t...delusions and paranoia.\n", "\n", "\t\t\t\tEMIL\n", "\t\tI was all of these.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tWell, you didn't appreciate the severity\n", "\t\tof it until recently. No question about\n", "\t\tthat.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhat about Oleg?\n", "\n", "\t\t\t\tCUTLER\n", "\t\tDisappeared. They're looking\n", "\t\teverywhere. Maybe he went back to\n", "\t\tCzechoslovakia.\n", "\n", "\t\t\t\tEMIL\n", "\t\tNo, he is here. Shit...\n", "\n", "\t\t\t\tCUTLER\n", "\t\tDon't worry about him. Think about\n", "\t\tyourself.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhat about my movie rights? Book\n", "\t\trights?\n", "\n", "\t\t\t\tCUTLER\n", "\t\tLook, I haven't really focused on that\n", "\t\tkind of thing.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhat's your cut? How much?\n", "\n", "\t\t\t\tCUTLER\n", "\t\tI would say...half. Half is fair.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(laughs)\n", "\t\tNo. No way.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tBut it's...\n", "\n", "\t\t\t\tEMIL\n", "\t\tThirty-percent. No more. Or I call\n", "\t\tanother lawyer. This is the biggest\n", "\t\tcase of your life. Don't try to\n", "\t\tnegotiate. Thirty percent. Say yes or\n", "\t\tno.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tThis is not about money, Emil. I need\n", "\t\tyour trust in me.\n", "\n", "\t\t\t\tEMIL\n", "\t\tWhat else do you need?\n", "\n", "\t\t\t\tCUTLER\n", "\t\tI need to know about your background. I\n", "\t\tneed to know about your upbringing. Why\n", "\t\tyou're here.\n", "\n", "\t\t\t\tEMIL\n", "\t\t\t(indicating cigarette)\n", "\t\tGive me another one, please.\n", "\n", "\tCutler stuffs another cigarette in Emil's mouth. Lights it.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tTell me about yourself. What you did as\n", "\t\ta young boy... what your parents were\n", "\t\tlike.\n", "\n", "\t\t\t\tEMIL\n", "\t\tMy father always degraded me. Killed my\n", "\t\tself-esteem. And my mother was blind.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tYour mother was blind?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYeah, she went blind giving birth to me. \n", "\t\tShe went to fucking black market doctor\n", "\t\tto induce me.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tBack in the Czech Republic?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYeah, yeah...bad doctor gave her bad\n", "\t\tdrugs which made her go blind. And my\n", "\t\tfather blamed me for her blindness...\n", "\n", "\t\t\t\tCUTLER\n", "\t\tYour father blamed you for your mother's\n", "\t\tblindness?\n", "\n", "\t\t\t\tEMIL\n", "\t\tYeah, he hated me from day when I was\n", "\t\tborn. Put it out. Can you put the\n", "\t\tcigarette out?\n", "\n", "\tCutler takes the cigarette from Emil's lips and extinguishes\n", "\tit.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tThat's what he did to me. He put\n", "\t\tcigarettes out on me.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tYour father put cigarettes out on you?\n", "\n", "\t\t\t\tEMIL\n", "\t\tOut on my back when I was a small boy.\n", "\n", "\t\t\t\tCUTLER\n", "\t\tCan I see your back?\n", "\n", "\tEmil rises. Cutler comes around and pulls his shirt up. HIS\n", "\tENTIRE BACK IS COVERED WITH DISGUSTING PURPLISH WELTS FROM\n", "\tCIGARETTE BURNS. Cutler recoils - horrified.\n", "\n", "\t\t\t\tCUTLER (CONT'D)\n", "\t\tOh, Jesus.\n", "\n", "\t\t\t\tEMIL\n", "\t\tI'm abused. Don't you think?\n", "\n", "\t\t\t\tCUTLER\n", "\t\tI don't think it's abuse, I think it's\n", "\t\ttorture.\n", "\n", "\tINT. FIRE STATION 91 - DUFFY'S OFFICE - DAY\n", "\n", "\tInside the Arson Squad, Duffy sits behind his desk. Jordy\n", "\tstands across the table from his Chief. Behind Jordy we can\n", "\tsee Garcia and Korfin outside, listening. Duffy has a\n", "\tsubpoena in his hand.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tThe public doesn't have any idea what we\n", "\t\tdo and now you're going to define our\n", "\t\timage! This is going to be our Rodney\n", "\t\tKing!\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhat was I supposed to do? The guy\n", "\t\ttried to mug me. I was gonna send a cop\n", "\t\tback - I just forgot.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tForgot? You handcuffed a civilian to a\n", "\t\ttree?!\n", "\n", "\t\t\t\tJORDY\n", "\t\tChief - I know I screwed up - but this\n", "\t\tguy was no innocent civilian.\n", "\n", "\t\t\t\tDUFFY\n", "\t\tWell this is gonna end your career and\n", "\t\tprobably mine.\n", "\n", "\t\t\t\tJORDY\n", "\t\tEnd my career?\n", "\n", "\t\t\t\tDUFFY\n", "\t\tHow are you going to fight this? Maybe\n", "\t\tif Oleg hadn't gotten away and you'd\n", "\t\tbeen on the front page, as a hero, this\n", "\t\tthing would be easier to fight. You'd\n", "\t\thave the good to weight against the bad! \n", "\t\tIt's unfortunate that I have to make\n", "\t\tdecisions based upon your press coverage\n", "\t\tbut there's nothing I can do! Gimme\n", "\t\tyour shield.\n", "\n", "\t\t\t\tJORDY\n", "\t\tBut Chief? Over this??\n", "\n", "\t\t\t\tDUFFY\n", "\t\tThere's nothing to talk about. Get a\n", "\t\tgood lawyer. You're suspended until\n", "\t\tyour trial.\n", "\n", "\tJordy sighs. Dying inside. He surrenders his shield. Drops\n", "\this handcuffs, his pager and his gun. Duffy picks up the gun\n", "\t- looks at it.\n", "\n", "\t\t\t\tDUFFY (CONT'D)\n", "\t\t\t(pats Jordy's shoulder)\n", "\t\tI know you got backup at home. Drop it\n", "\t\toff.\n", "\n", "\tJordy sighs and exits.\n", "\n", "\tINT. IMMIGRATION & NATURALIZATION OFFICE - DAY\n", "\n", "\tJordy is talking to BILL STERN, a senior special agent. In\n", "\tanother office we see Daphne with two 25-year old ASSISTANT\n", "\tU.S. ATTORNEYS.\n", "\n", "\t\t\t\tSTERN\n", "\t\t\t(to Jordy)\n", "\t\tLook, what don't you understand? We've\n", "\t\tgot a good relationship with the Czech's\n", "\t\tand the State Department doesn't want to\n", "\t\tcause an incident.\n", "\n", "\t\t\t\tJORDY\n", "\t\tBut the D.A. needs her as an eyewitness!\n", "\n", "\t\t\t\tSTERN\n", "\t\tThey've got her testimony on videotape. \n", "\t\tAnd even if they do take her to court\n", "\t\timmediately after she'll be extradited. \n", "\t\tThe Czechs want her back. She shot a\n", "\t\tcop! I mean, Christ, man, what if Emil\n", "\t\tSlovak and Oleg Razgul fled to the Czech\n", "\t\tRepublic? How would you feel if the\n", "\t\tCzechs wouldn't give them back to us?!\n", "\n", "\tStern looks over at Daphne sitting in another office. Lowers\n", "\this voice.\n", "\n", "\t\t\t\tSTERN (CONT'D)\n", "\t\tAnd just between us...I was married to a\n", "\t\tredhead. They're a jinx. Redheads are\n", "\t\tlike cross-eyed priests. Stay away from\n", "\t\tboth.\n", "\n", "\tJordy gives him a look.\n", "\n", "\t\t\t\tSTERN (CONT'D)\n", "\t\tYou want to see her - go ahead.\n", "\n", "\tJordy enters the other office. Sits next to Daphne. The\n", "\tassistant U.S. Attorneys leave.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWe're gonna fight the extradition.\n", "\n", "\tDaphne takes Jordy's bandaged hand in hers.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tForget about me. You have enough\n", "\t\tproblems of your own.\n", "\n", "\t\t\t\tJORDY\n", "\t\t...Do you really want me to forget about\n", "\t\tyou?\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tI don't want to drag you down with me.\n", "\n", "\t\t\t\tJORDY\n", "\t\tDaphne, I...\n", "\n", "\tDaphne touches her finger to his lips.\n", "\n", "\t\t\t\tDAPHNE\n", "\t\tShhhh.\n", "\n", "\tShe leans in and kisses him. Then looks into his eyes,\n", "\ttrying to find a smile.\n", "\n", "\tEXT. FEDERAL COURT HOUSE STEPS - DAY\n", "\n", "\tIt's weeks later. Nicolette is looking worn, tired,\n", "\tfrazzled. She's trying to go through her stand up. But\n", "\tshe's unraveling. Not recovered from the loss of Eddie.\n", "\n", "\t\t\t\tNICOLETTE \n", "\t\t...and today with his partner who he\n", "\t\tblamed for the crimes still at large,\n", "\t\tEmil Slovak will appear in court. His\n", "\t\tlawyer will argue that he is mentally \n", "\t\tunfit to stand trial. Eyewitness News\n", "\t\thas also learned that later this month,\n", "\t\tJordy Warsaw will himself be appearing\n", "\t\tin court. He will be arraigned on\n", "\t\tcharges of violating the civil rights\n", "\t\tof...Zwangen...Zwagen...\n", "\n", "\t\t\t\tMIKE\n", "\t\tZwangendaba.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tGoddamn assholes everywhere. \n", "\t\tZwangenbobby..Zwangendaba. I got it. \n", "\t\tI'll do it. Shit. Let's start again. \n", "\t\t5-4-3-2-1...\n", "\n", "\tShe starts over.\n", "\n", "\tINT. JORDY'S APARTMENT - NIGHT\n", "\n", "\tJordy's on the couch. A drink in his hand, watching TV with\n", "\this dog, ZACK. Jordy's eyes are glazed. He's drunk, his\n", "\teyes are as bloodshot as Eddie's were...without his job or\n", "\tDaphne. \n", "\tHis mind miles away - the dog and drink are his only comfort. \n", "\tAs Nicolette reports (she got the name right), her anger\n", "\tseeps through her broadcast.\n", "\n", "\t\t\t\tNICOLETTE (ON T.V.)\n", "\t\tMr. Zwangendaba claims to be a direct\n", "\t\tdescendent of the African King from whom\n", "\t\the takes his name...\n", "\n", "\tJordy's face is flashed on screen. The phone RINGS. Jordy\n", "\tpicks up.\n", "\n", "\t\t\t\tJORDY\n", "\t\tHello?\n", "\t\t\t(listens)\n", "\t\tNo comment.\n", "\n", "\tHe hangs up. The phone RINGS AGAIN.\n", "\n", "\t\t\t\tJORDY (CONT'D)\n", "\t\tHello?\n", "\t\t\t(listens)\n", "\t\tNo!\n", "\n", "\tJordy hangs up. Changes the channel. He stops as Robert\n", "\tHawkins' face fills the screen. He is standing across from\n", "\tsomeone - in a park - interviewing him.\n", "\n", "\t\t\t\tHAWKINS (ON T.V.)\n", "\t\tHe robbed you?\n", "\n", "\tThe ANGLE CUTS to Zwangendaba, the mugger, now dressed in a\n", "\tsuit and tie. Clean shaven and with a fresh haircut. He\n", "\tstands in the same spot where Jordy handcuffed him to the\n", "\ttree. He's appearing on \"Top Story\".\n", "\n", "\t\t\t\tZWANGENDABA (ON T.V.)\n", "\t\tThat's right, I encountered him right\n", "\t\there. I was just askin' for change an'\n", "\t\the whips out his big gun an' pushes me\n", "\t\tup against that tree, whereupon he takes\n", "\t\tmy money and handcuffs me to it, leavin'\n", "\t\tme there all exposed...\n", "\n", "\tThe phone RINGS again. Jordy suddenly pulls the phone off\n", "\tthe table and throws it through the window:\n", "\n", "\tBACK TO TV\n", "\n", "\tas the channel is changed. A REPORTER is on TV. Behind him\n", "\tis a picture of Emil. Emil is smiling, in a shirt and tie. \n", "\tThe reporter stands in front of the jail.\n", "\n", "\t\t\t\tREPORTER\n", "\t\t...and WBAI has learned that Mr. Slovak\n", "\t\twon't have to worry about how he is\n", "\t\tgoing to pay for his defense. He has\n", "\t\treceived movie offers and been in\n", "\t\tconversations with numerous publishers\n", "\t\tconcerning the rights to his life story.\n", "\n", "\tREVERSE ANGLE\n", "\n", "\tOleg is at a bar watching TV. Poisoned with envy.\n", "\n", "\n", "\tINT. JORDY'S BEDROOM - NEXT MORNING\n", "\n", "\tJordy stands in front of the mirror over the dresser. We see\n", "\tthe TV overturned in the b.g. His back up gun is on it. He\n", "\tstares at it. Dark thoughts dancing in his head.\n", "\n", "\tEXT. BATTERY PARK - DAY\n", "\n", "\tJordy sits in a taxi, wearing sunglasses. Looking inside the\n", "\tpark where a POLICE BARRICADE surrounds a POLICE TUGBOAT. \n", "\tCutler and Emil are arriving - Emil is being transferred to\n", "\tRykers Island. Jordy pulls his .38 out of his ankle holster\n", "\tand sticks it in his pocket.\n", "\n", "\tCLOSE ON METER\n", "\n", "\tto $42.00. The TAXI DRIVER looks in the rearview mirror.\n", "\n", "\t\t\t\tTAXI DRIVER\n", "\t\tI can't believe this guy got off. \n", "\t\tUnbelievable.\n", "\n", "\tJordy takes out money. All he's got is fifty bucks and he\n", "\tcrams it into the slot.\n", "\n", "\t\t\t\tJORDY\n", "\t\tWhatever's leftover, keep.\n", "\n", "\tJordy exits the cab. The anger rising inside his body is\n", "\tcoming to a boiling point. He walks into the park. Leon is\n", "\tsitting on a bench. Just sitting there. Also filled with\n", "\trage and frustration. Jordy meets his eyes. Leon gets up\n", "\tand walks away. Disgusted by it all. Jordy's right hand\n", "\tgrips the gun inside his pocket as he walks on.\n", "\n", "\tHIGH WIDE SHOT\n", "\n", "\tMany policemen are trying to control a swarm of reporters. \n", "\tAll are waiting for Emil. WE SEE:\n", "\n", "\tHAWKINS\n", "\n", "\tand his camera crew, and, not far from him - frustrated and\n", "\tfrazzled, waits Nicolette. Still grieving her loss, she\n", "\tlooks over at Hawkins and his crew. She shoots him a\n", "\tdisgusted look - Hawkins shrugs it off. He checks his watch -\n", "\tanxious - looks at his cameraman.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tHe said he'd be here. Pick him up as he\n", "\t\tcomes through the crowd. Do you hear\n", "\t\tme? For Chrissakes don't miss this.\n", "\n", "\tTHE POLICE VAN PULLS UP\n", "\n", "\tCutler's car behind it. Emil - handcuffed - is unloaded from\n", "\tthe van. Reporters swarm forward - Cutler gets out of his\n", "\tcar, hurrying up, taking his place alongside Emil and the\n", "\tPOLICE ESCORTS. The swarm follows - firing questions at\n", "\tCutler. He answers the barrage of questions with:\n", "\n", "\t\t\t\tCUTLER\n", "\t\t...my client was suffering from a major\n", "\t\tillness of schizophrenic nature wherein\n", "\t\tduring times of intense stress, as a\n", "\t\tresult of paranoid and psychotic\n", "\t\tdelusions - there was impairment of his\n", "\t\tability to appreciate wrongfullness...\n", "\t\tThis is a victory for the mentally ill!\n", "\n", "\tJordy walks alongside the moving mass. His eyes focused on\n", "\tEmil - his hand in his pocket. We notice in the crowd Max,\n", "\tthe celebrity-crazed pyromaniac. What's he doing here? \n", "\tMax's hand is also stuck deeply in his pocket. A weird gleam\n", "\tin his eye. We see Korfin in the group, speaking to other\n", "\tcops. Nicolette and her camera crew are vying for their\n", "\tplace in the mass. She watches Emil with quiet rage. Cutler\n", "\tcontinues:\n", "\n", "\t\t\t\tCUTLER (CONT'D)\n", "\t\t...before Emil boards the police boat\n", "\t\tand heads for Rykers Island where he\n", "\t\twill be checked into the psyche ward, I\n", "\t\twant to say one last word to you all...\n", "\t\tAs you know, Emil was coerced by Oleg\n", "\t\tRazgul into committing these murders,\n", "\t\tyet Oleg is still out in the street, a\n", "\t\tfree man, filming gruesome murders... My\n", "\t\tclient and I hope he is brought to\n", "\t\tjustice in the near future.\n", "\n", "\tThey are through the monuments, approaching the steps when\n", "\tJordy passes a distracted Hawkins - who's checking his watch\n", "\tobsessively.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tWhere the hell is he? Goddamn it?!\n", "\n", "\tJordy glares at Emil. Emil looks back at Jordy, gloating. \n", "\tSmiles. He won. He beat the system. Jordy suddenly erupts.\n", "\n", "\t\t\t\tJORDY\n", "\t\tYou think this is funny?? What the hell\n", "\t\tare you laughing at?\n", "\n", "\tEmil stares down Jordy. Jordy grips the gun inside the\n", "\tjacket.\n", "\n", "\t\t\t\tCUTLER\n", "\t\t\t(to a nearby escort)\n", "\t\tOfficer, keep this man back, he's\n", "\t\tassaulted my client on previous\n", "\t\toccasions.\n", "\n", "\tA PATROLMAN blocks Jordy from Emil.\n", "\n", "\t\t\t\tJORDY\n", "\t\tThis is it? This bastard kills the best\n", "\t\tcop this city ever had and we do\n", "\t\tnothing?\n", "\n", "\t\t\t\tCUTLER\n", "\t\tYou may not like it marshal, but that's\n", "\t\tthe law.\n", "\n", "\t\t\t\tJORDY\n", "\t\tAnd what about the other victims?? What\n", "\t\tabout their families? He'll end up in\n", "\t\tsome country club nuthouse while his\n", "\t\tlawyer sells his rights to the movies\n", "\t\tand we just stand here and do nothing? \n", "\t\tWe let this scumbag walk?\n", "\n", "\tJordy moves past the officer. Emil breaks away from Cutler. \n", "\tGets in Jordy's face. Laughs quietly.\n", "\n", "\t\t\t\tEMIL\n", "\t\tBe careful. I can kill you. I'm\n", "\t\tinsane.\n", "\n", "\tJordy shoves Emil into Cutler. A scuffle breaks out as the\n", "\tcops separate the two - pulling Jordy back as we cut to:\n", "\n", "\tA VIDEO POV\n", "\n", "\tas it approaches Hawkins from behind. A hand dips into frame\n", "\ttapping Hawkins on the shoulder. Hawkins turns - sees who\n", "\the's been waiting for. His face lights up.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tI thought you wouldn't show up. Where\n", "\t\tis it? Where is the tape?\n", "\n", "\tIT'S OLEG\n", "\n", "\tIn disguise - sunglasses and a hat. Holding his videocamera.\n", "\n", "\t\t\t\tOLEG\n", "\t\tIt's all in here. All in here.\n", "\n", "\tMEANWHILE JORDY\n", "\n", "\thas been separated from Cutler and Emil as Hawkins' voice\n", "\tcuts above the din of the crowd, announcing excitedly:\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tWait a minute, Bruce! We've got some\n", "\t\tinteresting evidence, something you\n", "\t\tshould look at!\n", "\n", "\tReporters turn as Hawkins speaks. His crew is taping as he\n", "\tcontinues introducing his broadcast:\n", "\n", "\t\t\t\tHAWKINS (CONT'D)\n", "\t\tI have exclusive rights to the ORIGINAL\n", "\t\tUNCUT videotape shot by Oleg Razgul,\n", "\t\tproving Emil Slovak was not insane! \n", "\t\tHard to believe...watch!\n", "\n", "\tReporters swing their cameras over as Oleg holds his\n", "\tvideocamera up in the air.\n", "\n", "\t\t\t\tOLEG (ON VIDEO)\n", "\t\tHe knew exactly what he was doing - all\n", "\t\tof this was planned! It's all here in\n", "\t\tmy movie. Emil is not insane. Look. \n", "\t\tLook!\n", "\n", "\tOleg PLAYS his videocamera as lenses focus, we see excerpts\n", "\tof the moment where Emil explains to Eddie:\n", "\n", "\t\t\t\tEMIL (ON VIDEO)\n", "\t\t...so we kill someone famous and if we\n", "\t\tare caught, we are sent to mental\n", "\t\thospital...\n", "\n", "\t\t\t\tCUTLER\n", "\t\t\t(points to Oleg)\n", "\t\tOfficers, there's your killer, do your\n", "\t\tduty, arrest him!\n", "\n", "\tThe police are attempting to get to Oleg, but a sea of\n", "\treporters separate them. We hear the staccato calls from the\n", "\tpress corps. Nicolette looks on in amazed outrage. Jordy\n", "\tnotices and starts moving towards her. Before the POLICE\n", "\tCAPTAIN in charge of the detail can react, the rage which\n", "\tkilled Milos, Tamina and Honey wells up inside Emil. He\n", "\tyells at Oleg!\n", "\n", "\t\t\t\tEMIL\n", "\t\tTraitor!!\n", "\n", "\t\t\t\tOLEG\n", "\t\tNo. You are the traitor. You are\n", "\t\tmurderer. I am director. Action!\n", "\n", "\tOleg pulls his gun. Emil pulls Cutler in front of him as:\n", "\n", "\tBANG!\n", "\n", "\tOleg FIRES! Cutler is SHOT and goes down. Hawkins swings\n", "\this camera over to Oleg - filming the would-be assassin. \n", "\tOleg FIRES off another SHOT - hitting the COURT OFFICER\n", "\tescorting Emil. Emil grabs the down officer's gun. He\n", "\tswivels - rapid fires at Oleg. Oleg topples. People are\n", "\tscreaming. It's CHAOS.\n", "\n", "\tEmil darts forward - grabbing Nicolette who is closes to him. \n", "\tHe puts his handcuffed arms over her head - points the gun at\n", "\ther head.\n", "\n", "\t\t\t\tCAPTAIN\n", "\t\tDrop the gun! DON'T SHOOT!\n", "\n", "\t\t\t\tEMIL\n", "\t\tI'll kill her! Back off! Everyone back\n", "\t\taway from me!\n", "\n", "\tWe hear Jordy's voice above Emil.\n", "\n", "\t\t\t\tJORDY\n", "\t\tLet her go. Let her fucking go!!\n", "\n", "\tThe captain is screaming at all his men.\n", "\n", "\t\t\t\tCAPTAIN\n", "\t\tNo one shoot! Lower your weapons! Do\n", "\t\tnot fire! No officer will fire his\n", "\t\tweapon unless I say so!\n", "\t\t\t(to Emil)\n", "\t\tLet the woman go!\n", "\n", "\tCops reluctantly lower their weapons. But Jordy is still\n", "\taiming his gun at Emil. He is the only one who hasn't\n", "\tlowered his gun. The captain is yelling at him.\n", "\n", "\t\t\t\tCAPTAIN (CONT'D)\n", "\t\tHolster your weapons! Back away. That\n", "\t\tis an order! No officers will fire!\n", "\n", "\tEmil is screaming back at the captain as Jordy screams at\n", "\tEmil.\n", "\n", "\t\t\t\tEMIL\n", "\t\tTell him to put his gun down!\n", "\n", "\t\t\t\tJORDY\n", "\t\tLet her go! Let her go!!\n", "\n", "\t\t\t\tEMIL\n", "\t\tIf he doesn't lower his gun I'll fucking\n", "\t\tkill her.\n", "\n", "\tJordy doesn't lower his gun. Emil tries to back away. The\n", "\treporters - who have ducked and covered - are still keeping\n", "\ttheir lenses pointed at the scene. This is great film! \n", "\tJordy follows after Emil - his gun raised.\n", "\n", "\t\t\t\tJORDY\n", "\t\tLet her go.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tShoot! Shoot him!!\n", "\n", "\t\t\t\tEMIL\n", "\t\tShut up!\n", "\n", "\tMeanwhile, the captain is still yelling:\n", "\n", "\t\t\t\tCAPTAIN\n", "\t\tNo on shoot! No one shoot!! No officer\n", "\t\twill follow. No officer will shoot!\n", "\n", "\tNicolette is still encouraging Jordy.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tShoot! Shoot! Shoot him!!\n", "\n", "\t\t\t\tEMIL\n", "\t\tShut up!\n", "\n", "\tEveryone is screaming at once. It's mass chaos. The captain\n", "\tis trying to keep everyone calm. Cops following along with\n", "\ttheir weapons lowered. All except Jordy - his gun still\n", "\tpointed at Emil. \n", "\tHawkins can't believe what footage he's getting. He's\n", "\tpushing his cameraman to the front of the pack. Trying to\n", "\tget the best coverage.\n", "\n", "\t\t\t\tEMIL (CONT'D)\n", "\t\tI'll surrender!! I'll surrender if he\n", "\t\tlowers his gun.\n", "\n", "\tHe's pointing at Jordy but he's continuing to back away\n", "\ttowards the police boat.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tDon't. Don't let him surrender. Shoot\n", "\t\thim!\n", "\n", "\tJordy won't take his gun off him.\n", "\n", "\t\t\t\tJORDY\n", "\t\tLet her go. Let her go.\n", "\n", "\tThe captain is yelling at Jordy.\n", "\n", "\t\t\t\tCAPTAIN\n", "\t\tLower your weapon. I told you - lower\n", "\t\tyour weapon!\n", "\n", "\tJordy struggles to get a clean shot at Emil. He can't. His\n", "\theart pounding. Adrenaline pumping. He suddenly lowers his\n", "\tweapon. Turns away. The captain visibly relaxes. Emil\n", "\tlaughs. Jordy suddenly turns back. Quickly raises his\n", "\tweapon.\n", "\n", "\tJORDY SHOOTS\n", "\n", "\tEmil takes a shot in the leg. Nicolette ducks under the\n", "\thandcuffs and scurries away. Emil looks at Jordy - surprised\n", "\the shot him. Jordy FIRES AGAIN. Emil is hit in the\n", "\tshoulder. Jordy marches forward, EMPTYING HIS CLIP in Emil's\n", "\tchest. Abdomen. Head. Gun fire echoes in the humid air as\n", "\tEmil stumbles back. Does a funny dance and drops to the\n", "\tground. Dead. The captain yells.\n", "\n", "\t\t\t\tCAPTAIN (CONT'D)\n", "\t\tI told you not to shoot! No officers\n", "\t\tshould shoot.\n", "\n", "\tJordy quietly answers:\n", "\n", "\t\t\t\tJORDY\n", "\t\tI'm not a cop. I'm a fire marshal.\n", "\n", "\t\t\t\tHAWKINS\n", "\t\tHe's still alive.\n", "\n", "\tHawkins looks down at Oleg. He is sprawled on the ground. \n", "\tHis videocamera in hand - he's still making the movie.\n", "\n", "\tOLEG'S VIDEO POV\n", "\n", "\tas it ZOOMS from the Statue of Liberty and PANS to Oleg. He\n", "\tlooks in the lens with his dying eyes, gasps:\n", "\n", "\t\t\t\tOLEG\n", "\t\tA film...by Oleg Razgul.\n", "\n", "\tAnd Oleg dies but suddenly his eyes pop WIDE OPEN. Hawkins\n", "\tjumps back, Oleg smiles, coughing in pain.\n", "\n", "\t\t\t\tOLEG (CONT'D)\n", "\t\tHow was that?\n", "\n", "\tOleg's head rolls to one side. Now dead. Nicolette runs\n", "\tover to Jordy. Composing herself. Coming together. Glad\n", "\tEmil is dead. Jordy starts to walk away.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tWait a minute. Where are you going? \n", "\t\tLearn from Eddie. Talk to the court of\n", "\t\tpublic opinion. Take the credit, you\n", "\t\tneed it.\n", "\n", "\tShe turns him around. Straightens his tie. Starts to push\n", "\tthe hair out of his face but he stops her hand.\n", "\n", "\t\t\t\tJORDY\n", "\t\tNo thanks.\n", "\n", "\tJordy puts something in her hand. She looks down. It's\n", "\tEDDIE'S BADGE. The one Jordy took out of Daphne's bathroom. \n", "\tShe looks up at him. Her cameraman rolling. The lens\n", "\tpointed at Jordy. Jordy looks at Nicolette. Meets her eyes. \n", "\tHe doesn't want to make a statement. He still doesn't want\n", "\tthe fame. He did learn from Eddie. Eddie was killed because\n", "\the was a celebrity. Jordy wants no part of it.\n", "\n", "\t\t\t\tNICOLETTE\n", "\t\tCut.\n", "\n", "\tHer cameraman lowers his leans. Jordy smiles. She nods. \n", "\tJordy turns and walks away.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tGet a shot of him leaving. Then pan to\n", "\t\tme.\n", "\n", "\tJordy disappears into the sea of people. The camera PANS\n", "\tback to Nicolette.\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tWell, he wouldn't talk to us, but you\n", "\t\tsaw it.\n", "\n", "\tThe CAMERA PULLS BACK from Nicolette's face and the video is\n", "\tnow on:\n", "\n", "\tTHE JUMBOTRON IN TIMES SQUARE\n", "\n", "\tWe PULL BACK FURTHER and FURTHER. Nicolette finishing her\n", "\tstand up:\n", "\n", "\t\t\t\tNICOLETTE (CONT'D)\n", "\t\tNew York City has a new hero, Fire\n", "\t\tMarshal Jordan Warsaw. I hope that Fire\n", "\t\tMarshal Warsaw's heroic actions this\n", "\t\tafternoon will help with his other legal\n", "\t\tproblems. WB11 has also learned that\n", "\t\tthe fire Marshal has retained an\n", "\t\timmigration lawyer to help Daphne\n", "\t\tHandlova with her case. We wish her\n", "\t\twell. This is Nicolette Karas, live at\n", "\t\tBattery Park, WB11 New York. Good\n", "\t\tnight.\n", "\n", "\tTHE SCREEN\n", "\n", "\t\t\t\t\t\t FADES TO BLACK.\n", "\n", "\n", "\n", "Note from poster to Kubrick newsgroup:\n", "\n", "I found this on a bbs a while ago and I thought I'd pass it along to all \n", "of you Kubrick freaks out there.\n", "\n", "02/23/89\n", "Transcriber's note:\n", "\n", "For all you Clarke/Kubrick/2001 fans,\n", "\n", "I found the original paper copy of this screenplay a while back and felt \n", "compelled to transcribe it to disk and upload it to various bulletin \n", "boards for the enjoyment of all.\n", "\n", "The final movie deviates from this screenplay in a number of interesting \n", "ways. I've tried to maintain the format of the original document except \n", "the number of lines per page of the original. In order to reduce the \n", "length of this file I've used a bar of \"------\" to delimit the pages as \n", "there was a lot of whitespace per original screenplay page.\n", "\n", "\n", "------------------------------------------------------------------------\n", "\t\t\t\t \n", "\t\t\t\t 2001: A SPACE ODYSSEY\n", "\n", "\t\t\t\t\t Screenplay\n", "\n", "\t\t\t\t\t\t by\n", " \n", "\t\t\t Stanley Kubrick and Arthur C. Clark\n", "\n", "\t\t\t\t\t Hawk Films Ltd.,\n", "\t\t\t\t\t c/o. M-G-M Studios,\n", "\t\t\t\t\t Boreham Wood,\n", "\t\t\t\t\t Herts.\n", "------------------------------------------------------------------------\n", "\n", "TITLE\t\t\t\t\t PART I\n", "\t\t\t\t\t AFRICA\n", "\t\t\t\t\t 3,000,000 YEARS AGO\n", "------------------------------------------------------------------------\n", "A1\n", "VIEWS OF AFRICAN DRYLANDS - DROUGHT\n", "\n", "The remorseless drought had lasted now for ten million years,\n", "and would not end for another million. The reign of the ter-\n", "rible lizards had long since passed, but here on the continent\n", "which would one day be known as Africa, the battle for survival\n", "had reached a new climax of ferocity, and the victor was not\n", "yet in sight. In this dry and barren land, only the small or\n", "the swift or the fierce could flourish, or even hope to exist.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a1\n", "------------------------------------------------------------------------\n", "A2\n", "INT & EXT CAVES - MOONWATCHER\n", "\n", "The man-apes of the field had none of these attributes, and\n", "they were on the long, pathetic road to racial extinction.\n", "About twenty of them occupied a group of caves overlooking\n", "a small, parched valley, divided by a sluggish, brown stream.\n", "\n", "The tribe had always been hungry, and now it was starving.\n", "As the first dim glow of dawn creeps into the cave, Moonwatcher\n", "discovers that his father has died during the night. He did not know\n", "the Old One was his father, for such a relationship was beyond\n", "his understanding. but as he stands looking down at the emac-\n", "iated body he feels something, something akin to sadness. Then\n", "he carries his dead father out of the cave, and leaves him for the\n", "hyenas.\n", "\n", "Among his kind, Moonwatcher is almost a giant. He is nearly\n", "five feet high, and though badly undernourished, weighs over\n", "a hundred pounds. His hairy, muscular body is quite man-like,\n", "and his head is already nearer man than ape. The forehead is\n", "low, and there are great ridges over the eye-sockets, yet he\n", "unmistakably holds in his genes the promise of humanity. As\n", "he looks out now upon the hostile world, there is already\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a2\n", "------------------------------------------------------------------------\n", "A2\n", "CONTINUED\n", "\n", "something in his gaze beyond the grasp of any ape. In those\n", "dark, deep-set eyes is a dawning awareness-the first intima-\n", "tions of an intelligence which would not fulfill itself for another\n", "two million years.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a3\n", "------------------------------------------------------------------------\n", "A3\n", "EXT THE STREAM - THE OTHERS\n", "\n", "As the dawn sky brightens, Moonwatcher and his tribe reach\n", "the shallow stream.\n", "\n", "The Others are already there. They were there on the other\n", "side every day - that did not make it any less annoying.\n", "\n", "There are eighteen of them, and it is impossible to distinguish\n", "them from the members of Moonwatcher's own tribe. As\n", "they see him coming, the Others begin to angrily dance and\n", "shriek on their side of the stream, and his own people reply\n", "In kind.\n", "\n", "The confrontation lasts a few minutes - then the display dies\n", "out as quickly as it has begun, and everyone drinks his fill of\n", "the muddy water. Honor has been satisfied - each group has\n", "staked its claim to its own territory.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a4\n", "------------------------------------------------------------------------\n", "A4\n", "EXT AFRICAN PLAIN - HERBIVORES\n", "\n", "Moonwatcher and his companions search for berries, fruit\n", "and leaves, and fight off pangs of hunger, while all around\n", "them, competing with them for the samr fodder, is a potential\n", "source of more food than they could ever hope to eat. Yet\n", "all the thousands of tons of meat roaming over the parched\n", "savanna and through the brush is not only beyond their reach;\n", "the idea of eating it is beyond their imagination. They are\n", "slowly starving to death in the midst of plenty.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a5\n", "------------------------------------------------------------------------\n", "A5\n", "EXT PARCHED COUNTRYSIDE - THE LION\n", "\n", "The tribe slowly wanders across the bare, flat country-\n", "side foraging for roots and occasional berries.\n", "\n", "Eight of them are irregularly strung out on the open plain,\n", "about fifty feet apart.\n", "\n", "The ground is flat for miles around.\n", "\n", "Suddenly, Moonwatcher becomes aware of a lion, stalking\n", "them about 300 yards away.\n", "\n", "Defenceless and with nowhere to hide, they scatter in all\n", "directions, but the lion brings one to the ground.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a6\n", "------------------------------------------------------------------------\n", "A6\n", "EXT DEAD TREE - FINDS HONEY\n", "\n", "It had not been a good day, though as Moonwatcher had no\n", "real remembrance of the past he could not compare one day\n", "with another. But on the way back to the caves he finds a\n", "hive of bees in the stump of a dead tree, and so enjoys the\n", "finest delicacy his people could ever know. Of course, he\n", "also collects a good many stings, but he scacely notices\n", "them. He is now as near to contentment as he is ever\n", "likely to be; for thought he is still hungry, he is not actually\n", "weak with hunger. That was the most that any hominid could\n", "hope for.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a7\n", "------------------------------------------------------------------------\n", "A7\n", "INT & EXT CAVES - NIGHT TERRORS\n", "\n", "Over the valley, a full moon rises, and a cold wind blows down\n", "from the distant mountains. It would be very cold tonight -\n", "but cold, like hunger, was not a matter for any real concern;\n", "it was merely part of the background of life.\n", "\n", "This Little Sun, that only shone at night and gave no warmth,\n", "was dangerous; there would be enemies abroad. Moonwatcher\n", "crawls out of the cave, clambers on to a large boulder besides\n", "the entrance, and squats there where he can survey the valley.\n", "If any hunting beast approached, he would have time to get back\n", "to the relative safety of the cave.\n", "\n", "Of all the creatures who had ever lived on Earth, Moonwatcher's\n", "race was the first to raise their eyes with interest to the Moon,\n", "and though he could not remember it, when he was young,\n", "Moonwatcher would reach out and try to touch its ghostly face.\n", "Now he new he would have to find a tree that was high\n", "enough.\n", "\n", "He stirs when shrieks and screams echo up the slope from\n", "one of the lower caves, and he does not need to hear the\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a8\n", "------------------------------------------------------------------------\n", "A7\n", "CONTINUED\n", "\n", "occasional growl of the lion to know what is happening. Down\n", "there in the darkness, old One-Eye and his family are dying,\n", "and the thought that he might help in some way never crosses\n", "Moonwatcher's mind. The harsh logic of survival rules out\n", "such fancies. Every cave is silent, lest it attract disaster.\n", "\n", "And in the caves, in tortured spells of fitful dozing and\n", "fearful waiting, were gathered the nightmares of generations\n", "yet to come.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a9\n", "------------------------------------------------------------------------\n", "A8\n", "EXT THE STREAM - INVASION\n", "\n", "The Others are growing desperate; the forage on their side of\n", "the valley is almost exhausted. Perhaps they realise that\n", "Moonwatcher's tribe has lost three of its numbers during the\n", "night, for they choose this mourning to break the truce. When\n", "they meet at the river in the still, misty dawn, there is a\n", "deeper and more menacing note in their challenge. The noisy\n", "but usually harmless confrontation lasts only a few seconds\n", "before the invasion begins.\n", "\n", "In an uncertainly-moving horde, the Others cross the river,\n", "shieking threats and hunched for the attack. They are led\n", "by a big-toothed hominid of Moonwatcher's own size and age.\n", "\n", "Startled and frightened, the tribe retreats before the first\n", "advance, throwing nothing more substantial than imprecations\n", "at the invaders. Moonwatcher moves with them, his mind a\n", "mist of rage and confusion. To be driven from their own\n", "territory is a great badness, but to lose the river is death.\n", "He does not know what to do; it is a situation beyond his\n", "experience.\n", "\n", "Then he becomes dimly aware that the Others are slowing\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a10\n", "------------------------------------------------------------------------\n", "A8\n", "CONTINUED\n", "\n", "down, and advancing with obvious reluctance. The further they\n", "move from their own side, the more uncertain and unhappy\n", "they become. Only Big-Tooth still retains any of his original\n", "drive, and he is rapidly being seperated from his followers.\n", "\n", "As he sees this, Moonwatcher's own morale immediately\n", "revives. He slows down his retreat, and begins to make\n", "reassuring noises to his companions. Novel sensations fill\n", "his dim mind - the first faint precursors of bravery and\n", "leadership.\n", "\n", "Before he realizes it, he is face to face with Big-Tooth, and\n", "the two tribes come to a halt many paces away.\n", "\n", "The disorganized and unscientific conflict could have ended\n", "quickly if either had used his fist as a club, but this\n", "innovation still lay hundreds of thousands of years in the\n", "future. Instead, the slowly weakening fighters claw and\n", "scratch and try to bite each other.\n", "\n", "Rolling over and over, they come to a patch of stony ground,\n", "and when they reach it Moonwatcher is on top. By chance,\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a11\n", "------------------------------------------------------------------------\n", "A8\n", "CONTINUED\n", "\n", "he chooses this moment to grab the hair on Big-Tooth's scalp,\n", "and bang his head on the ground. The resulting CRACK is\n", "so satisfactory, and produces such an immediate weakening\n", "In Big - Tooth's resistance, that he quickly repeats it.\n", "\n", "Even when Big-Tooth ceases to move for some time, Moon-\n", "watcher keeps up the exhilirating game.\n", "\n", "With shrieks of panic, the Others retreat back, across the\n", "stream. The defenders cautiously pursue them as far as\n", "The water's edge.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a12\n", "------------------------------------------------------------------------\n", "EXT CAVE - NEW SOUND\n", "\n", "Dozing fitfully and weakened by his stuggle, Moonwatcher is\n", "startled by a sound.\n", "\n", "He sits up in the fetid darkness of the cave, straining his\n", "senses out into the night, and fear creeps slowly into his soul.\n", "Never in his life - already twice as long as most members of\n", "his species could expect - has he heard a sound like this. The\n", "great cats approached in silence, and the only thing that\n", "betrayed them was a rare slide of earth, or the occasional\n", "cracking of a twig. Yet this is a continuing crunching noise\n", "that grows steadily louder. It seemed that some enormous\n", "beast was moving through the night, making no attempt at\n", "concealment, and ignoring all obstacles.\n", "\n", "And then there came a sound which Moonwatcher could not\n", "possibly have identified, for it had never been heard before\n", "in the history of this planet.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a13\n", "------------------------------------------------------------------------\n", "A10\n", "EXT CAVE - NEW ROCK\n", "\n", "Moonwatcher comes face to face with the New Rock when he\n", "leads the tribe down to the river in the first light of morning.\n", "He had almost forgotten the terror of the night, because nothing\n", "had happened after that initial noise, so he does not even\n", "associate this strange thing with danger or with fear. There\n", "is nothing in the least alarming about it.\n", "\n", "It is a cube about fifteen feet on a side, and it is made of\n", "some completely transparent material; indeed, it is not easy\n", "to see except when the light of the sun glints on its edges.\n", "There are no natural objects to which Moonwatcher can\n", "compare this apparition. Though he is wisely cautious\n", "of most new things, he does not hesitate to walk up to it.\n", "As nothing happens, he puts out his hand, and feels a warm,\n", "hard surface.\n", "\n", "After several minutes of intense thought, he arrives at a\n", "brilliant explanation. It is a rock, of course, and it\n", "must have grown during the night. There are many plants\n", "that do this - white, pulpy things shaped like pebbles, that\n", "seem to shoot up in the hours of darkness. It is true that\n", "they are small and round, whereas this is large and square;\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a14\n", "------------------------------------------------------------------------\n", "A10\n", "CONTINUED\n", "\n", "but greater and later philosophers than Moonwatcher would be\n", "prepared to overlook equally striking exceptions to their laws.\n", "\n", "This really superb piece of abstract thinking leads Moonwatcher\n", "to a deduction which he immediately puts to the test. The white,\n", "round pebble-plants are very tasty (though there were a few\n", "that made one violently sick); perhaps this square one...?\n", "\n", "A few licks and attempted nibbles quickly disillusion him.\n", "There is no nourishment here; so like a sensible hominid, he\n", "continues on his way to the river and forgets all about the Cube.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a15\n", "------------------------------------------------------------------------\n", "A11\n", "EXT CUBE - FIRST LESSON\n", "\n", "They are still a hundred yards from the New Rock when the\n", "sound begins.\n", "\n", "It is quite soft, and it stops them in their tracks, so that they\n", "stand paralyzed on the trail with their jaws hanging. A simple,\n", "maddeningly repetitious rhythm pulses out of the crystal cube\n", "and hypnotises all who come within its spell. For the first\n", "time - and the last, for two million year - the sound of\n", "drumming is heard in Africa.\n", "\n", "The throbbing grows louder, more insistent. Presently the\n", "hominids begin to move forward like sleep-walkers, towards\n", "the source of that magnetic sound. Sometimes they take little\n", "dancing steps, as their blood responds to the rhythms that\n", "their descendants will not create for ages yet.\n", "\n", "Totally entranced, they gather around the Cube, forgetting\n", "the hardships of the day, the perils of the approaching dusk,\n", "and the hunger in their bellies.\n", "\n", "Now, spinning wheels of light begin to merge, and the spokes\n", "fuse into luminous bars that slowly recede into the distance,\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a16\n", "------------------------------------------------------------------------\n", "A11\n", "CONTINUED\n", "\n", "rotating on their axes as they do; and the hominids watch, wide-\n", "eyed, mesmerized captives of the Crystal Cube.\n", "\n", "Then by some magic - though it was no more magical than all\n", "that had gone on before - a perfectly normal scene appears. It\n", "is as if a cubical block had been carved out of the day and\n", "shifted into the night. Inside that block is a group of four\n", "hominids, who might have been members of Moonwatcher's\n", "own tribe, eating chunks of meat. The carcass of a wart-hog\n", "lies near them.\n", "\n", "This little family of male and female and two children is gorged\n", "and replete, with sleek and glossy pelts - and this was a\n", "condition of life that Moonwatcher had never imagined. From\n", "time to time they stir lazily, as they loll at ease near the\n", "entrance of their cave, apparently at peace with the world.\n", "The spectacle of domestic bliss merges into a totally\n", "different scene.\n", "\n", "The family is no longer reposing peacefully outside its cave;\n", "it is foraging, searching for food like any normal hominids.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a17\n", "------------------------------------------------------------------------\n", "A11\n", "CONTINUED\n", "\n", "A small wart-hog ambles past the group of browsing humanoids\n", "without giving them more than a glance, for they had never been\n", "the slightest danger to its species.\n", "\n", "But that happy state of affairs is about to end. The big male\n", "suddenly bends down, picks up a heavy stone lying at his feet -\n", "and hurls it upon the unfortunate pig. The stone descends upon\n", "its skull, making exactly the same noise that Moonwatcher had\n", "produced in his now almost forgotten encounter with Big-Tooth.\n", "And the result, too, is much the same - the warthog gives one\n", "amazed, indignant squeal, and collapses in a motionless heap.\n", "\n", "Then the whole sequence begins again, but this time it unfolds\n", "itself with incredible slowness. Every detail of the movement\n", "can be followed; the stone arches leisurely through the air, the\n", "pig crumples up and sinks to the ground. There the scene\n", "freezes for long moments, the slayer standing motionless\n", "above the slain, the first of all weapons in his hand.\n", "\n", "The scene suddenly fades out. The cube is no more than a\n", "glimmering outline in the darkness; the hominids stir, as if\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a18\n", "------------------------------------------------------------------------\n", "A11\n", "CONTINUED\n", "\n", "awakening from a dream, realise where they are, and scuttle\n", "back to their caves.\n", "\n", "They have no concious memory of what they had seen; but that\n", "night, as he sits brooding at the entrance of his lair, his ears\n", "attuned to the noises of the world around him, Moonwatcher\n", "feels the first faint twinges of a new and potent emotion - the urge\n", "to kill. He had taken his first step towards humanity.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a19\n", "------------------------------------------------------------------------\n", "A12\n", "EXT cave AND PLAINS - Utopia\n", "\n", "Babies were born and sometimes lived; feeble, toothless thirty-\n", "year-olds died; the lion took its toll in the night; the Others\n", "threatened daily across the river - and the trib prospered.\n", "In the course of a single year, Moonwatcher and his companions\n", "had changed almost beyond recognition.\n", "\n", "They had become as plump as the family in the Cave, who no\n", "longer haunted their dreams. They had learned their lessons\n", "well; now they could handle all the stone tools and weapons that\n", "the Cube had revealed to them.\n", "\n", "They were no longer half-numbed with starvation, and they\n", "had time both for leisure and for the first rudiments of thought.\n", "Their new way of life was casually accepted, and they did\n", "not associate it in any way with the crystal cube still standing\n", "outside their cave.\n", "\n", "But no Utopia is perfect, and this one had two blemishes. The\n", "first was the marauding lion, whose passion for hominids\n", "seemed to have grown even stronger now that they were better\n", "nourished. The second was the tribe across the river; for\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a20\n", "------------------------------------------------------------------------\n", "A12\n", "CONTINUED\n", "\n", "somehow the Others had survived, and had stubbornly refused to\n", "die of starvation.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a21\n", "------------------------------------------------------------------------\n", "A13\n", "EXT CAVES - KILLING THE LION\n", "\n", "With the partly devoured carcass of a warthog laid out on the\n", "ground at the point he hope the boulder would impact, Moon-\n", "watcher and three of his bravest companions wait for two\n", "consecutive nights. On the third the lion comes,\n", "betraying his presences by a small pebble slide.\n", "\n", "When they can here the lion below, softly tearing at the meat,\n", "they strain themselves against the massive boulder. The sound\n", "of the lion stops; he is listening. Again they silently heave\n", "against the enormous stone, exerting the final limits of their\n", "strength. The rock begin to tip to a new balance point.\n", "\n", "The lion twitches alert to this sound, but having no fear of these\n", "creatures, he makes the first of two mistakes which will cost\n", "him his life; he goes back to his meal.\n", "\n", "The rock moves slowly over the ledge, picking up speed with\n", "amazing suddeness. It strikes a projection in the cliff about\n", "fifteen feet above the ground, which deflects its path outward.\n", "\n", "Just at this instant, the lion reacts instinctively and leaps\n", "away from the face of the cliff directly into the path of the\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a22\n", "------------------------------------------------------------------------\n", "A13\n", "CONTINUED\n", "\n", "onrushing boulder. He has combined the errors of over-\n", "confidence and bad luck.\n", "\n", "The next morning they find the lion in front of the cave. They\n", "also find one of their tribe who had incautiously peeped out to\n", "see what was happening, and was apparently killed by a small\n", "rock torn loose by the boulder; but this was a small price to\n", "pay for such a great victory.\n", "\n", "\t\t\t\t\t * * * * * * * *\n", "\n", "And then one night the crystal cube was gone, and not even\n", "Moonwatcher ever thought of it again. He was still wholly\n", "unaware of all that it had done.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a23\n", "------------------------------------------------------------------------\n", "A14\n", "EXT STREAM - MASTER OF THE WORLD\n", "\n", "From their side of the stream, in the never violated safety of\n", "their own territory, the Others see Moonwatcher and fourteen\n", "males of his tribe appear from behind a small hillock over-\n", "looking the stream, silhouetted against the dawn sky.\n", "\n", "The Others begin to scream their daily challenge. But today\n", "something is different, though the Others do not immediatly\n", "recognize this fact.\n", "\n", "Instead of joining the verbal onslaught, as they had always done,\n", "Moonwatcher and his small band decended from the rise, and\n", "begin to move forward to the stream with a quiet purposefulness\n", "never befor seen.\n", "\n", "As the Others watch the figures silently approaching in the\n", "morning mist, they become aware of the terrible strangness\n", "of this encounter, and their rage gradually subsides down to\n", "an uneasy silence.\n", "\n", "At the water's edge, Moonwatcher and his band stop. They\n", "carry their bone clubs and bone knives.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a24\n", "------------------------------------------------------------------------\n", "A14\n", "CONTINUED\n", "\n", "Led by One-ear, the Others half-heartly resume the battle-\n", "chant. But they are suddenly confrunted with a vision that cuts\n", "the sound from their throats, and strikes terror into their\n", "hearts.\n", "\n", "Moonwatcher, who had been partly concealed by two males who\n", "walked before him, thrusts his arm high into the air. In his\n", "hand he holds a stoud tree branch. Mounted atop the branch is\n", "the bloody head of the lion, its mouth jammed open with a stick,\n", "displaying its frightful fangs.\n", "\n", "The Others gape in fearful disbelief at this display of power.\n", "\n", "Moonwatchers stands motionless, thrusting the lion's head high.\n", "Then with majestic deliberation, still carrying his mangled\n", "standard above his head, he begins to cross the stream, followed\n", "by his band.\n", "\n", "The Others fade back from the stream, seeming to lack even\n", "the ability to flee.\n", "\n", "Moonwatcher steps ashore and walks to One-Ear, who stands\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a25\n", "------------------------------------------------------------------------\n", "A14\n", "CONTINUED\n", "\n", "unsurely in front of his band.\n", "\n", "Though he is a veteran of numerous combats at the water's edge,\n", "One-Ear has never been attacked by an enemy who had not first\n", "displayed his fighting rage; and he had never before been attacked\n", "with a weapon. One-Ear, merely looks up at the raised club\n", "until the heavey thigh bone of an antelope brings the darkness\n", "down around him.\n", "\n", "The Others stare in wonder at Moonwatcher's power.\n", "\n", "Moonwatcher surveys the scene. Now he was master of the\n", "world, and he was not sure what to do next. But he would\n", "think of something.\n", "\n", "10/13/65\t\t\t\t\t\t\t\t\t\t a26\n", "------------------------------------------------------------------------\n", "\t\t\t\t\t A SECTION TIMING\n", "\n", "\t\t\t A1 00.30\n", "\t\t\t A2 00.45\n", "\t\t\t A3 01.30\n", "\t\t\t A4 00.30\n", "\t\t\t A5 01.00\n", "\t\t\t A6 01.00\n", "\t\t\t A7 01.00\n", "\t\t\t A8 03.00\n", "\t\t\t A9 00.45\n", "\t\t\t A10 02.00\n", "\t\t\t A11 04.00\n", "\t\t\t A12 02.00\n", "\t\t\t A13 02.30\n", "\t\t\t A14 02.30\n", "\n", "\t\t\t\t\t A SECTION TOTAL: @23 MIN. 00 SECS\n", "------------------------------------------------------------------------ \n", "\t\t\t TITLE\t\t\t\t\tPART II\n", "\n", "\t\t\t\t\t\t\t YEAR 2001\n", "\n", "\t\t\t\t\t\t\t\t\t\t\t a26a\n", "------------------------------------------------------------------------ \n", "B1\n", "EARTH FROM 200 MILES UP\t\t\t\t\t NARRATOR\t\t\n", "\t\t\t\t\t\t By the year 2001, overpopulation has\n", "B1a\t\t\t\t\t\t replaced the problem of starvation\n", "THOUSAND MEGATON\t\t\t but this was ominously offset by the\n", "NUCLEAR BOMB IN ORBIT\t\t absolute and utter perfection of the\n", "ABOVE THE EARTH,\t\t\t weapon.\n", "RUSSIAN INSIGNIA AND\n", "CCCP MARKINGS\n", "\n", "B1b\t\t\t\t\t\t\t NARRATOR\n", "AMERICAN THOUSAND\t\t\t Hundreds of giant bombs had been\n", "MEGATON BOMB IN ORBIT\t\t placed in perpetual orbit above the\n", "ABOVE THE EARTH.\t\t\t Earth. They were capable of\n", "\t\t\t\t\t\t incinerating the entire Earth's\n", "\t\t\t\t\t\t surface from an altitude of 100\n", "\t\t\t\t\t\t miles.\n", "\n", "B1c\n", "FRENCH BOMB\t\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t Matters were further complicated\n", "\t\t\t\t\t by the presence of twenty-seven\n", "\t\t\t\t\t nations in the nuclear club. There\n", "\t\t\t\t\t had been no deliberate or acciden-\n", "B1d\t\t\t\t\t\t tal use of nuclear weapons since\n", "GERMAN BOMB\t\t\t\t World War II and some people felt\n", "\t\t\t\t\t sercure in this knowledge. But to\n", "\t\t\t\t\t others, the situation seemed\n", "\t\t\t\t\t\t comparible to an airline with a\n", "B1f\t\t\t\t\t\t perfect safety record; in showed\n", "CHINESE BOMB\t\t\t\t admirable care and skill but no\n", "\t\t\t\t\t\t one expected it to last forever.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b1\n", "------------------------------------------------------------------------ \n", "B2\n", "ORION-III SPACECRAFT\n", "IN FIGHT AWAY FROM\n", "EARTH, 200 MILES\n", "ALTITUDE.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b2\n", "------------------------------------------------------------------------ \n", "B3\n", "ORION-III PASSENGER AREA.\n", "DR. HEYWOOD FLOYD IS THE\n", "ONLY PASSENGER IN THE\n", "ELEGANT CABIN DESIGNED\n", "FOR 30 PEOPLE. HE IS\n", "ASLEEP.\n", "\n", "HIS PEN FLOATS NEAR HIS\n", "HAND.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b3 \n", "------------------------------------------------------------------------ \n", "B4\n", "ORION-III COCKPIT.\n", "PILOT, CO-PILOT.\n", "FLOYD CAN BE SEEN\n", "ASLEEP ON A SMALL\n", "TV MONITOR.\n", "STEWARDESS IS PUTTING\n", "ON LIPSTICK. SHE SEES\n", "PEN.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b4 \n", "------------------------------------------------------------------------ \n", "B5\n", "STEWARDESS GOES BACK\n", "TO PASSENGER AREA,\n", "RESCUES PEN AND CLIPS\n", "IT BACK IN FLOYD'S\n", "POCKET.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b5 \n", "------------------------------------------------------------------------ \n", "B6\n", "SPACE STATION-5. THE\n", "RAW SUNLIGHT OF SPACE\n", "DAZZLES FROM THE\n", "POLISHED METAL SURFACES\n", "OF THE SLOWLY REVOLVING,\n", "THOUSAND-FOOT DIAMETER\n", "SPACE STATION. DRIFTING\n", "IN THE SAME ORBIT, WE SEE\n", "SWEPT-BACK TITOV-V\n", "SPACECRAFT. ALSO THE\n", "ALMOST SPHERICAL ARIES-IB\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b6 \n", "------------------------------------------------------------------------\n", "B7\n", "ORION-III PASSENGER AREA\n", "FLOYD AWAKE BUT GROGGY,\n", "LOOKS OUT OF WINDOW.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b7 \n", "------------------------------------------------------------------------\n", "B8\n", "ORION-III COCKPIT.\n", "THE CO-PILOT IN RADIO\n", "COMMUNICATION WITH THE\n", "SPACE STATION.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b8 \n", "------------------------------------------------------------------------\n", "B9\n", "THE ORION-III SPACECRAFT\n", "IN DOCKING APPROACH. THE\n", "EARTH IS SEEN IN BREATH-\n", "TAKING VIEW IN B.G.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b9\n", "------------------------------------------------------------------------\n", "B10\n", "INSIDE DOCKING CONTROL.\n", "WE SEE ORION-III MANO-\n", "UVERING. IN BACKGROUND.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b10\n", "------------------------------------------------------------------------\n", "B11\n", "FROM DOCKING PORT WE\n", "SEE THE ORION-III INCHING\n", "IN TO COMPLETE ITS\n", "DOCKING. WE SEE VARIOUS\n", "WINDOWED BOOTHS INSIDE\n", "DOCKING PORT. WE SEE\n", "THE PILOT AND CO-PILOT\n", "INSIDE THE ORION-III\n", "COCKPIT.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t\t b11\n", "------------------------------------------------------------------------\n", "B12\n", "SPACE STATION\n", "RECEPTION AREA\n", "\n", "RECEPTIONIST AT DESK.\n", "MILLER ENTERS, HUR-\n", "RYING. HE GOES TO\n", "THE ELEVATOR AND\n", "PRESSES BUTTON. HE\n", "WAITS IMPATIENTLY.\n", "\n", "WE SEE ELEVATOR\n", "INDICATOR WORKING\n", "\n", "ELEVATOR DOOR OPENS\n", "AND FLOYD IS SEEN\n", "UNSTRAPPING HIMSELF.\n", "THE ELEVATOR GIRL IS\n", "SEATED BY THE DOOR\n", "\t\t\t\t\t\t MILLER\n", "\t\t\t\t\t\t Oh, good morning, Dr. Floyd.\n", "\t\t\t\t\t\t I'm Nick Miller.\n", "\n", "\t\t\t\t\t\t FLOYD\n", "\t\t\t\t\t\t How do you do, Mr. Miller?\n", "\n", "\t\t\t\t\t\t MILLER\n", "\t\t\t\t\t\t I'm terribly sorry. I was just\n", "\t\t\t\t\t\t on my way down to meet you. I\n", "\t\t\t\t\t\t saw your ship dock and I knew I\n", "\t\t\t\t\t\t had plenty of time, and I was on\n", "\t\t\t\t\t\t my way out of the office when,\n", "\t\t\t\t\t\t suddenly, the phone rang.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t\t b12 \n", "------------------------------------------------------------------------\n", "B12\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Oh, please don't worry about it.\n", "\n", "\t\t\t\t\t MILLER\n", "\t\t\t\t\t Well, thank you very much for\n", "\t\t\t\t\t being so understanding.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Please, it really doesn't matter.\n", "\n", "\t\t\t\t\t MILLER\n", "\t\t\t\t\t Well.. Did you have a pleaant\n", "\t\t\t\t\t flight?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes, very pleasant.\n", "\n", "\t\t\t\t\t MILLER\n", "\t\t\t\t\t Well, shall we go through\n", "\t\t\t\t\t Documentation?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Fine.\n", "\n", "\t\t\t\t\t RECEPTIONIST\n", "\t\t\t\t\t Will you use number eight,\n", "\t\t\t\t\t please?\n", "\n", "\t\t\t\t\t MILLER\n", "\t\t\t\t\t Thank you, Miss Turner.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b13\n", "------------------------------------------------------------------------\n", "B12\n", "CONTINUED\n", "\n", "THEY ENTER PASSPORT\n", "AREA\n", "\n", "RECEPTIONIST PRESSES\n", "\"ENGLISH\" BAR ON HER\n", "CONSOLE AND SMILES\n", "AS FLOYD GOES THROUGH.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b13a\n", "------------------------------------------------------------------------\n", "IN AUTOMATED PASSPORT\n", "SECTION. THEY STOP IN\n", "FRONT OF A BOOTH\n", "FEATURING A TV SCREEN\n", "\t\t\t\t\t \n", "\t\t\t\t\t PASSPORT GIRL (TV)\n", "\t\t\t\t\t Good morning and welcome to voice\n", "\t\t\t\t\t Print Identification. When you see\n", "\t\t\t\t\t the red light go on would you please\n", "\t\t\t\t\t state in the following order; your\n", "\t\t\t\t\t desitination, your nationality and\n", "\t\t\t\t\t your full name. Surname first,\n", "\t\t\t\t\t christian name and initial. For\n", "\t\t\t\t\t example: Moon, American,\n", "\t\t\t\t\t Smith, John, D. Thank you.\n", "\n", "THERE IS A PAUSE\n", "AND A RED BAR LIGHTS UP\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Moon, American, Floyd, Heywood,\n", "\t\t\t\t\t R.\n", "\n", "THE RED LIGHT GOES OFF.\n", "THERE IS A DELAY OF\n", "ABOUT TWO SECONDS AND\n", "THE WOMAN'S FACE\n", "REAPPEARS\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I've always wondered....\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b14 \n", "------------------------------------------------------------------------\n", "B13\n", "CONTINUED\n", "\t\t\t\t\t PASSPORT GIRL (TV)\n", "\t\t\t\t\t (Interrupting) Thank you. Despite\n", "\t\t\t\t\t and excellent and continually\n", "\t\t\t\t\t improving safety record there are\n", "\t\t\t\t\t certain risks inherent in space\n", "\t\t\t\t\t travel and an extremely high cost\n", "\t\t\t\t\t of pay load. Because of this it\n", "\t\t\t\t\t is necessary for the Space Carrier\n", "\t\t\t\t\t to advise you that it cannot be\n", "\t\t\t\t\t responsible for the return of your\n", "\t\t\t\t\t body to Earth should you become\n", "\t\t\t\t\t deceased on the Moon or en route\n", "\t\t\t\t\t to the Moon. However, it wishes\n", "\t\t\t\t\t to advise you that insurance\n", "\t\t\t\t\t covering this contingency is\n", "\t\t\t\t\t available in the Main Lounge.\n", "\t\t\t\t\t Thank you. You are cleared\n", "\t\t\t\t\t through Voice Print Identification.\n", "\n", "THE LIGHTS GO OFF\n", "AND THE WOMAN'S\n", "FACE DISAPPEARS\n", "\n", "THE MEN EXIT THE\n", "PASSPORT AREA\n", "\n", "\t\t\t\t\t MILLER\n", "\t\t\t\t\t I've reserved a table for you in\n", "\t\t\t\t\t the Earth Light room. Your\n", "\t\t\t\t\t connecting flight will be\n", "\t\t\t\t\t leaving in about one hour.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b15 \n", "------------------------------------------------------------------------\n", "B13\n", "CONTINUED\n", "\n", "\t\t\t\t\t\tFLOYD\n", "\t\t\t\t\t\tOh, that's wonderful.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b16 \n", "------------------------------------------------------------------------\n", "B14\n", "INT SPACE STATION - LOUNGE\n", "\n", "FLOYD AND MILLER WALKING\n", "\n", "\t\t\t\t\t MILLER\n", "\t\t\t\t\t Let's see, we haven't had the\n", "\t\t\t\t\t pleasure of a visit from you not\n", "\t\t\t\t\t since... It was about eight or\n", "\t\t\t\t\t nine months ago, wasn't it?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes, I think so. Just about\n", "\t\t\t\t\t then.\n", "\n", "\t\t\t\t\t MILLER\n", "\t\t\t\t\t I suppose you saw the work on\n", "\t\t\t\t\t our new section while you\n", "\t\t\t\t\t were docking.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes, it's coming along very well.\n", "\n", "THEY PASS THE VISION\n", "PHONE BOOTH\n", "\n", "\t\t\t\t\t\tFLOYD\n", "\t\t\t\t\t\tOh, look, I've got to make a\n", "\t\t\t\t\t\tphone call. Why don't you go\n", "\t\t\t\t\t\ton into the Restaurant and I'll\n", "\t\t\t\t\t\tmeet you in there.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b17 \n", "------------------------------------------------------------------------\n", "B14\n", "CONTINUED\n", "\n", "\t\t\t\t\t MILLER\n", "\t\t\t\t\t Fine. I'll see you at the bar.\n", "\n", "FLOYD ENTERS PHONE\n", "BOOTH. SIGN ON\n", "VISION PHONE SCREEN\n", "\"SORRY, TEMPORARILY\n", "OUT OF ORDER.\"\n", "\n", "HE ENTERS THE SECOND\n", "BOOTH AND SITS DOWN\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b18\t \n", "------------------------------------------------------------------------\n", "B15\n", "DELETED\n", "\n", "B16\n", "DELETED\n", "\n", "PAGES b19 - b22 DELETED\n", "\n", "12/7/65\n", "------------------------------------------------------------------------\n", "B17\n", "FLOYD IN VISION PHONE\n", "\n", "LITTLE GIRL OF FIVE\n", "ANSWERS\n", "\n", "\t\t\t\t\t\tCHILD\n", "\t\t\t\t\t\tHello.\n", "\n", "VISION PHONE SCREEN\n", "DISPLAY SIGN 'YOUR\n", "PARTY HAS NOT CONNECTED\n", "VISION'\n", "\n", "A FEW SECONDS LATER,\n", "THE SCREEN CHANGES\n", "TO AN IMAGE OF THE\n", "CHILD\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Hello, darling, how are you?\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t Hello Daddy. Where are you?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I'm at Space Station Five,\n", "\t\t\t\t\t darling. How are you?\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t I'm fine, Daddy. When are\n", "\t\t\t\t\t you coming home?\n", "\n", "12/6/65\t\t\t\t\t\t\t\t\t\t b23 \n", "------------------------------------------------------------------------\n", "B17\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Well, I hope in a few days,\n", "\t\t\t\t\t sweetheart.\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t I'm having a party tomorrow.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes, I know that sweetheart.\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t Are you coming to my party?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t No, I'm sorry, darling, I\n", "\t\t\t\t\t told you I won't be home for a\n", "\t\t\t\t\t few days.\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t When are you coming home?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t In three days, darling, I\n", "\t\t\t\t\t hope.\n", "\n", "FLOYD HOLDS UP\n", "THREE FINGERS.\n", "\n", "12/6/65\t\t\t\t\t\t\t\t\t\t b24 \n", "------------------------------------------------------------------------\n", "B17\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t One, two, three. Can I\n", "\t\t\t\t\t speak to Mommy?\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t Mommy's out to the hair-\n", "\t\t\t\t\t dresser.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Where is Mrs. Brown?\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t She's in the bathroom.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Okay, sweetheart. Well, I\n", "\t\t\t\t\t have to go now. Tell Mommy\n", "\t\t\t\t\t that I called.\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t How many days until you\n", "\t\t\t\t\t come home?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Three, darling. One... two\n", "\t\t\t\t\t ... three. Be sure to tell\n", "\t\t\t\t\t Mommy I called.\n", "\n", "12/6/65\t\t\t\t\t\t\t\t\t\t b24a \n", "------------------------------------------------------------------------\n", "B17\n", "CONTINUED\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t I will, Daddy.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Okay, sweetheart. Have a\n", "\t\t\t\t\t lovely Birthday Party\n", "\t\t\t\t\t tomorrow.\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t Thank you, Daddy.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I'll wish you a happy\n", "\t\t\t\t\t Birthday now and I'll see you\n", "\t\t\t\t\t soon. All right, Darling?\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t Yes, Daddy.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t 'Bye, 'bye, now, sweetheart.\n", "\n", "\t\t\t\t\t CHILD\n", "\t\t\t\t\t Goodbye, Daddy.\n", "\n", "12/6/65\t\t\t\t\t\t\t\t\t\t b24b \n", "------------------------------------------------------------------------\n", "B18\n", "VISION PHONE\n", "PROCEDURE FOR\n", "INFORMATION\n", "\n", "VISION PHONE\n", "PROCEDURE FOR\n", "DIALLING\n", "\n", "\t\t\t\t\t OPERATOR\n", "\t\t\t\t\t Good morning, Macy's.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Good morning. I'd like the\n", "\t\t\t\t\t Vision shopper for the Pet\n", "\t\t\t\t\t Shop, please.\n", "\n", "\t\t\t\t\t OPERATOR\n", "\t\t\t\t\t Just one moment.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b25 \n", "------------------------------------------------------------------------\n", "B19\n", "THE PICTURE FLIPS AND\n", "WE SEE A WOMAN STANDING\n", "IN FORN OF A SPECIALLY-\n", "DESIGNED DISPLAY SCREEN\n", "\n", "\t\t\t\t\t VISION SALES GIRL\n", "\t\t\t\t\t Good morning, sir, may I help you?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes, I'd like to buy a bush baby.\n", "\n", "\t\t\t\t\t VISION SALES GIRL\n", "\t\t\t\t\t Just a moment, sir.\n", "\n", "THE GIRL KEYS SOME\n", "INPUTS AND A MOVING\n", "PICTURE APPEARS ON\n", "THE SCREEN OF A CAGE\n", "CONTAINING ABOUT SIX\n", "BUSH BABIES,\n", "BEAUTIFULLY DISPLAYED\n", "AGAINST A WHITE BACK-\n", "GROUND\n", "\n", "\t\t\t\t\t VISION SALES GIRL\n", "\t\t\t\t\t Here you are, sir. Here is a \n", "\t\t\t\t\t lovely assortment of African\n", "\t\t\t\t\t bush babies. They are twenty\n", "\t\t\t\t\t Dollars each.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b26 \n", "------------------------------------------------------------------------\n", "B19\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes, well... Pick out a nice one\n", "\t\t\t\t\t for me, a friendly one, and I'd\n", "\t\t\t\t\t like it delivered tomorrow.\n", "\n", "\t\t\t\t\t VISION SALES GIRL\n", "\t\t\t\t\t Certainly, sir. Just let us have\n", "\t\t\t\t\t your name and Bank identification\n", "\t\t\t\t\t for V.P.I., and then give the\n", "\t\t\t\t\t name and address of the person\n", "\t\t\t\t\t you'd like the pet delivered to\n", "\t\t\t\t\t and it will be delivered tomorrow.\n", "\n", "SOME TIME DURING\n", "THIS CONVERSATION,\n", "FLOYD SEE ELENA,\n", "SMYSLOV AND THE\n", "OTHER TWO RUSSIANS\n", "PASS HIS VISION PHONE\n", "WINDOW. ELENA TAPS\n", "AND MIMES \"HELLO\",\n", "GESTURING TOWARD A\n", "TABLE BEHIND FLOYD\n", "WHERE THEY ALL SIT\n", "DOWN\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Thank you very much. Floyd,\n", "\t\t\t\t\t Heywood, R., First National\n", "\t\t\t\t\t Bank of Washington. Please\n", "\t\t\t\t\t deliver to Miss Josephine\n", "\t\t\t\t\t Floyd, 9423 Dupre Avenue,\n", "\t\t\t\t\t N.W.14.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b27 \n", "------------------------------------------------------------------------\n", "B19\n", "CONTINUED\n", "\n", "\t\t\t\t\t VISION SALES GIRL\n", "\t\t\t\t\t Thank you very much, sir. It\n", "\t\t\t\t\t will be delivered tomorrow.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b27a \n", "------------------------------------------------------------------------\n", "B20\n", "SPACE STATTION 5 - LOUNGE\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Well, how nice to see you again,\n", "\t\t\t\t\t Elena. You're looking wonderful.\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t How nice to see you, Hyewood.\n", "\t\t\t\t\t This is my good friend, Dr.\n", "\t\t\t\t\t Heywood Floyd. I'd like you\n", "\t\t\t\t\t to meet Andre Smyslov...\n", "\n", "SMYSLOV AND THE TWO\n", "OTHER RUSSIAN WOMEN\n", "STAND UP AND SMILE\n", "\n", "THEY SHAKE HANDS\n", "AFTER INTRODUCTION\n", "AND AD-LIB 'HELLOS'\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t And this is Dr. Kalinan...\n", "\t\t\t\t\t Stretyneva...\n", "\n", "THE RUSSIANS ARE\n", "VERY WARM AND \n", "FRIENDLY.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Dr. Floyd, won't you join us\n", "\t\t\t\t\t for a drink?\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b28 \n", "------------------------------------------------------------------------\n", "B20\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I'm afraid I've only got a few\n", "\t\t\t\t\t minutes, but I'd love to.\n", "\n", "THERE IS A BIT OF\n", "CONFUSION AS ALL\n", "REALISE THERE IS\n", "NOT ENOUGH ROOM\n", "FOR ANOTHER\n", "PERSON AT THE TABLE.\n", "SMYSLOV OFFERS FLOYD\n", "HIS CHAIR\n", "AND BORROWS\n", "ANOTHER FROM A NEARBY TABLE\n", "\n", "\t\t\t\t\t SYMYSLOV\n", "\t\t\t\t\t What would you like to drink?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Oh, I really don't have time\n", "\t\t\t\t\t for a drink. If it's all right\n", "\t\t\t\t\t I'll just sit for a minute and\n", "\t\t\t\t\t then I've got to be off.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Are you quite sure?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes, really, thank you very\n", "\t\t\t\t\t much.\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t Well... How's your lovely\n", "\t\t\t\t\t wife?\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b29 \n", "------------------------------------------------------------------------\n", "B20\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t She's wonderful.\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t And your charming little daughter?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Oh, she's growing up very fast.\n", "\t\t\t\t\t As a matter of fact, she's six\n", "\t\t\t\t\t tomorrow.\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t Oh, that's such a delightful age.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t How is gregor?\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t He's fine. But I'm afraid we\n", "\t\t\t\t\t don't get a chance to see each\n", "\t\t\t\t\t other very much these days.\n", "\n", "POLITE LAUGHTER\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Well, where are all of you off\n", "\t\t\t\t\t to?\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b30 \n", "------------------------------------------------------------------------\n", "B20\n", "CONTINUED\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t Actually, we're on our way back\n", "\t\t\t\t\t from the moon. We've just\n", "\t\t\t\t\t spent three months calibrating\n", "\t\t\t\t\t the new antenna at Tchalinko.\n", "\t\t\t\t\t And what about you?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Well, as it happens, I'm on\n", "\t\t\t\t\t my way up to the moon\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Are you, by any chance, going\n", "\t\t\t\t\t up to your base at Clavius?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes,as a matter of fact, I am.\n", "\n", "THE RUSSIANS\n", "EXCHANGE\n", "SIGNIFICANT\n", "GLANCES\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Is there any particular reason\n", "\t\t\t\t\t why you ask?\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b31 \n", "------------------------------------------------------------------------\n", "B20\n", "CONTINUED\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t (pleasantly) Well, Dr. Floyd,\n", "\t\t\t\t\t I hope that you don't think I'm\n", "\t\t\t\t\t too inquisitive, but perhaps\n", "\t\t\t\t\t you can clear up the mystery\n", "\t\t\t\t\t about what's been going on up\n", "\t\t\t\t\t there.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I'm sorry, but I'm not sure\n", "\t\t\t\t\t I know what you mean.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Well, it's just for the past\n", "\t\t\t\t\t two weeks there have been\n", "\t\t\t\t\t some extremely odd things\n", "\t\t\t\t\t happening at Clavius.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Really?\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Yes. Well, for one thing,\n", "\t\t\t\t\t whenever you phone the base,\n", "\t\t\t\t\t all you can get is a recording\n", "\t\t\t\t\t which repeats that the phone\n", "\t\t\t\t\t lines are temporarily out of\n", "\t\t\t\t\t order.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b32 \n", "------------------------------------------------------------------------\n", "B20\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Well, I suppose they've been\n", "\t\t\t\t\t having a bit of trouble with\n", "\t\t\t\t\t some of the equipment.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Yes, well at first we thought\n", "\t\t\t\t\t that was the explanation, but\n", "\t\t\t\t\t it's been going on for the past\n", "\t\t\t\t\t ten days.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t You mean you haven't been able\n", "\t\t\t\t\t to get anyone at the base for ten\n", "\t\t\t\t\t days?\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t That's right.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I see.\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t Another thing, Heywood, two\n", "\t\t\t\t\t days ago, one of our rocket\n", "\t\t\t\t\t buses was denied permission\n", "\t\t\t\t\t for an emergency landing at\n", "\t\t\t\t\t Clavius.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b33 \n", "------------------------------------------------------------------------\n", "B20\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t How did they manage to do that\n", "\t\t\t\t\t without any communication?\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t Clavius Control came on the\n", "\t\t\t\t\t air just long enough to transmit\n", "\t\t\t\t\t their refusal.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Well, that does sound very odd.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Yes, and I'm afaid there's\n", "\t\t\t\t\t going to be a bit of a row about\n", "\t\t\t\t\t it. Denying the men permission\n", "\t\t\t\t\t to land was a direct violation of\n", "\t\t\t\t\t the I.A.S. convention.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Yes... Well, I hope the crew\n", "\t\t\t\t\t got back safely.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Fortunately, they did.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Well, I'm glad about that.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b33a \n", "------------------------------------------------------------------------\n", "B20\n", "CONTINUED\n", "\n", "THE RUSSIANS EXCHANGE\n", "MORE GLANCES. ONE OF\n", "THE WOMEN OFFERS\n", "AROUND A PILL BOX.\n", "ELENA AND ANOTHER\n", "RUSSIAN TAKE ONE AND\n", "THE THIRD RUSSIAN\n", "DELCINES.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Dr. Floyd, at the risk of pressing\n", "\t\t\t\t\t you on a point you seem reticent\n", "\t\t\t\t\t to discuss, may I ask you a\n", "\t\t\t\t\t straightforward question?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Certainly.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t Quite frankly, we have had some\n", "\t\t\t\t\t very reliable intelligence reports\n", "\t\t\t\t\t that a quite serious epidemic\n", "\t\t\t\t\t has broken out at Clavius.\n", "\t\t\t\t\t Something, apperently, of an\n", "\t\t\t\t\t unknown origin. Is this, in\n", "\t\t\t\t\t fact, what has happened?\n", "\n", "A LONG, AWKWARD\n", "PAUSE\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b33b \n", "------------------------------------------------------------------------ \n", "B20\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I'm sorry, Dr. Smyslov, but\n", "\t\t\t\t\t I'm really not at liberty to\n", "\t\t\t\t\t discuss this.\n", "\n", "\t\t\t\t\t SMYSLOV\n", "\t\t\t\t\t This epidemic could easily\n", "\t\t\t\t\t spread to our base, Dr. Floyd.\n", "\t\t\t\t\t We should be given all the\n", "\t\t\t\t\t facts.\n", "\n", "LONG PAUSE\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Dr. Smyslov... I'm not\n", "\t\t\t\t\t permitted to discuss this.\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t Are you sure you won't change\n", "\t\t\t\t\t your mind about a drink?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t No, thank you... and I'm\n", "\t\t\t\t\t afraid now I really must be\n", "\t\t\t\t\t going.\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t Well, I hope that you and your\n", "\t\t\t\t\t wife can come to the I.A.C.\n", "\t\t\t\t\t conference in June.\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b33c \n", "------------------------------------------------------------------------ \n", "B20\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t We're trying to get there. I\n", "\t\t\t\t\t hope we can.\n", "\n", "\t\t\t\t\t ELENA\n", "\t\t\t\t\t Well, Gregor and I will look\n", "\t\t\t\t\t forward to seeing you.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Thank you. It's been a great\n", "\t\t\t\t\t pleasure to meet all of you...\n", "\t\t\t\t\t Dr. Smyslov.\n", "\n", "THE RUSSIANS ALL\n", "RISE AND THERE\n", "ARE AD-LIBS OF\n", "COURTESY\n", "\n", "FLOYD SHAKES HANDS\n", "AND EXITS\n", "\n", "THE RUSSIANS EXCHANGE\n", "A FEW SERIOUS PARA-\n", "GRAPHES IN RUSSIAN\n", "\n", "12/7/65\t\t\t\t\t\t\t\t\t\t b33d\t \n", "------------------------------------------------------------------------ \n", "B21\n", "\n", "ARIES-IB IN SPACE.\n", "EARTH MUCH SMALLER\n", "THAN AS SEEN FROM\n", "SPACE STATION\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t The Aries-IB has become the\n", "\t\t\t\t\t standard Space-Station-to-Lunar\n", "\t\t\t\t\t surface vehicle. It was powered\n", "\t\t\t\t\t by low-thrust plasma jets which\n", "\t\t\t\t\t would continue the mild acceler-\n", "\t\t\t\t\t ation for fifteen minutes. Then\n", "\t\t\t\t\t the ship would break the bonds of\n", "\t\t\t\t\t gravity and be a free and indepen-\n", "\t\t\t\t\t dent planet, circling the Sun in an\n", "\t\t\t\t\t orbit of its own.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b34 \n", "------------------------------------------------------------------------ \n", "B21a\n", "\n", "ARIES PASSENGER AREA.\n", "FLOYD IS ASLEEP, STRETCHED\n", "OUT IN THE CHAIR, COVERED\n", "WITH BLANKETS WHICH ARE\n", "HELD SECURE BY STRAPS\n", "\n", "A STEWARDESS SITS AT THE\n", "OTHER SIDE OF THE CABIN,\n", "WATCHING A KARATE\n", "EXHIBITION BETWEEN TWO\n", "WOMEN ON TELEVISION\n", "\n", "THE ELEVATOR ENTRANCE\n", "DOOR OPENS AND THE\n", "SECOND STEWARDESS ENTERS\n", "CARRYING A TRAY OF FOOD\n", "\n", "SHE BRINGS IT TO THE OTHER\n", "STEWARDESS\n", "\n", "\t\t\t\t\t STEWARDESS ONE\n", "\t\t\t\t\t Oh, thank you very much.\n", "\n", "\t\t\t\t\t STEWARDESS TWO\n", "\t\t\t\t\t I see he's still asleep.\n", "\n", "\t\t\t\t\t STEWARDESS ONE\n", "\t\t\t\t\t Yes. He hasn't moved since we\n", "\t\t\t\t\t left.\n", "\n", "STEWARDESS TWO EXITS,\n", "INTO ELEVATOR\n", "\n", "12/6/65\t\t\t\t\t\t\t\t\t\t b34a \n", "------------------------------------------------------------------------ \n", "B21b\n", "\n", "ARIES GALLEY AREA.\n", "STEWARDESS EXITS FROM\n", "ELEVATOR, GOES TO\n", "KITCHEN SECTION, REMOVES\n", "TWO TRAYS, WALKS UP TO\n", "THE SIDE OF THE WALL AND\n", "ENTERS PILOT'S\n", "COMPARTMENT\n", "\n", "12/6/65\t\t\t\t\t\t\t\t\t\t b34b \n", "------------------------------------------------------------------------ \n", "B22\n", "ARIES-IB COCKPIT.\n", "PILOT, CO-PILOT.\n", "\n", "STEWARDESS ENTERS,\n", "CARRYING FOOD\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Oh, thank you very much.\n", "\n", "\t\t\t\t\t CO-PILOT\n", "\t\t\t\t\t Thank you.\n", "\n", "STEWARDESS SMILES.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t (sighs) Well, how's it going\n", "\t\t\t\t\t back there?\n", "\n", "\t\t\t\t\t STEWARDESS\n", "\t\t\t\t\t Fine. Very quiet. He's been\n", "\t\t\t\t\t asleep since we left.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Well, no one can say that he's not\n", "\t\t\t\t\t enjoying the wonders of Space.\n", "\n", "\t\t\t\t\t CO-PILOT\n", "\t\t\t\t\t Well, whatever's going on up there,\n", "\t\t\t\t\t he's going to arrive fresh and ready\n", "\t\t\t\t\t to go.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b35 \n", "------------------------------------------------------------------------ \n", "B22\n", "CONTINUED\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t I wonder what really IS going on\n", "\t\t\t\t\t up there?\n", "\n", "\t\t\t\t\t CO-PILOT\n", "\t\t\t\t\t Well, I've heard more and more\n", "\t\t\t\t\t people talk of an epidemic.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t I suppose it was bound to happen\n", "\t\t\t\t\t sooner or later.\n", "\n", "\t\t\t\t\t CO-PILOT\n", "\t\t\t\t\t Berkeley told me that they think\n", "\t\t\t\t\t it came from contamination on a\n", "\t\t\t\t\t returning Mars flight.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Yes, well, whatever it is, they're\n", "\t\t\t\t\t certainly not fooling around. This\n", "\t\t\t\t\t is the first flight they allowed\n", "\t\t\t\t\t in for more than a week.\n", "\n", "\t\t\t\t\t CO-PILOT\n", "\t\t\t\t\t I was working out what this trip\n", "\t\t\t\t\t must cost, taking him up there\n", "\t\t\t\t\t by himself and coming back empty.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t I'll bet it's a fortune.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b36\t \n", "------------------------------------------------------------------------ \n", "B22\n", "CONTINUED\n", "\n", "\t\t\t\t\t CO-PILOT\n", "\t\t\t\t\t Well, at ten thousand dollars a\n", "\t\t\t\t\t ticket, it comes to the better part\n", "\t\t\t\t\t of six hundred thousand dollars.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Well, as soon as he wakes up,\n", "\t\t\t\t\t I'm going to go back and talk to\n", "\t\t\t\t\t him. I must say, I'd like to\n", "\t\t\t\t\t find out what's going on.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b36a \n", "------------------------------------------------------------------------ \n", "B23\n", "ARIES-IB IN SPACE.\n", "MOON VERY LARGE.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b37 \n", "------------------------------------------------------------------------ \n", "B24\n", "ARIES-IB PASSENGER\n", "AREA. FLOYD FINISHING\n", "BREAKFAST.\n", "\n", "PILOT ENTERS.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Well, good afternoon, Dr. Floyd.\n", "\t\t\t\t\t Did you have a good rest?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Oh, marvellous. It's the first\n", "\t\t\t\t\t real sleep I've had for the past\n", "\t\t\t\t\t two days.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t There's nothing like weightless\n", "\t\t\t\t\t sleep for a complete rest.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t When do we arrive at Clavius?\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t We're scheduled to dock in about\n", "\t\t\t\t\t seven hours. Is there anything\n", "\t\t\t\t\t we can do for you?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Oh, no, thank you. The two\n", "\t\t\t\t\t girls have taken wonderful care\n", "\t\t\t\t\t of me. I'm just fine.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b38 \n", "------------------------------------------------------------------------\n", "B24\n", "CONTINUED\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Well, if there is anything that you\n", "\t\t\t\t\t wnat, just give a holler.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Thank you.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Incidentally, Dr. Floyd, I wonder\n", "\t\t\t\t\t if I can have a word with you about\n", "\t\t\t\t\t the security arrangements?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t What do you mean?\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Well... the crew is confined to\n", "\t\t\t\t\t the ship when we land at Clavius.\n", "\t\t\t\t\t We have to stay inside for the\n", "\t\t\t\t\t time it take to refit - about\n", "\t\t\t\t\t twenty-four hours. And then\n", "\t\t\t\t\t we're going to back empty.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I see.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t I take it this is something to do\n", "\t\t\t\t\t with the trouble they're having\n", "\t\t\t\t\t up at Clavius?\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b39 \n", "------------------------------------------------------------------------\n", "B24\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I'm afraid that's out of my depart-\n", "\t\t\t\t\t ment, Captain.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Well, I'll tell you why I ask. You\n", "\t\t\t\t\t see, I've got a girl who works in\n", "\t\t\t\t\t the Auditing Department of the\n", "\t\t\t\t\t Territorial Administrator and I\n", "\t\t\t\t\t haven't been able to get her on\n", "\t\t\t\t\t the phone for the past week or so,\n", "\t\t\t\t\t and with all these stories one\n", "\t\t\t\t\t hears, I'm a little concerned\n", "\t\t\t\t\t about her.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I see. Well, I'm sorry about that.\n", "\t\t\t\t\t I wouldn't think there's any cause\n", "\t\t\t\t\t for alarm.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Yes, well, I wouldn't have been\n", "\t\t\t\t\t too concerned about it, except\n", "\t\t\t\t\t I've heard these stories about the\n", "\t\t\t\t\t epidemic and, as a matter of fact,\n", "\t\t\t\t\t I've heard that ten people have\n", "\t\t\t\t\t died already.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b40 \n", "------------------------------------------------------------------------\n", "B24\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t I wish I could be more helpful,\n", "\t\t\t\t\t Captain, but as I've said, I don't\n", "\t\t\t\t\t think there's any cause for\n", "\t\t\t\t\t alarm.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Well, fine. Thanks very much,\n", "\t\t\t\t\t anyway, and I hope you don't\n", "\t\t\t\t\t mind me asking?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t No, of course, Captain, I can\n", "\t\t\t\t\t understand your concern.\n", "\n", "\t\t\t\t\t PILOT\n", "\t\t\t\t\t Well, thank you very much, and\n", "\t\t\t\t\t please let us know if there is\n", "\t\t\t\t\t anything we can do to make your\n", "\t\t\t\t\t trip more comfortable.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b40a \n", "------------------------------------------------------------------------\n", "B25\n", "ARIES-IB CLOSER TO MOON\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b41\t \n", "------------------------------------------------------------------------\n", "B26\n", "FLOYD GOES TO ARIES-IB\n", "WASHROOM AND LOOKS AT\n", "THE VERY LONG LIST OF\n", "COMPLICATED INSTRUCTIONS\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b42 \n", "------------------------------------------------------------------------\n", "B27\n", "ARIES-IB CLOSER TO MOON\n", "\n", "DISSOLVE:\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b43 \n", "------------------------------------------------------------------------\n", "B28\n", "FLOYD VISITING ARIES-IB\n", "COCKPIT. WEIGHTLESS\n", "TRICK ENTRANCE.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b44\t \n", "------------------------------------------------------------------------\n", "B29\n", "ARIES-IB ORBITING MOON.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t The laws of Earthly aesthetics did\n", "\t\t\t\t\t not apply here, this world had been\n", "\t\t\t\t\t shaped and molded by other than\n", "\t\t\t\t\t terrestrial forces, operating over\n", "\t\t\t\t\t aeons of time unknown to the young,\n", "\t\t\t\t\t verdant Earth, with its fleeting\n", "\t\t\t\t\t Ice-Ages, its swiftly rising and\n", "\t\t\t\t\t falling seas, its mountain ranges\n", "\t\t\t\t\t dissolving like mists before the\n", "\t\t\t\t\t dawn. Here was age inconceivable\n", "\t\t\t\t\t - but not death, for the Moon had\n", "\t\t\t\t\t never lived until now.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b45 \n", "------------------------------------------------------------------------\n", "B30\n", "ARIES-IB COCKPIT - THE\n", "CREW AND DOCKING\n", "CONTROL PEOPLE ON THE\n", "MOON GO THROUGH THEIR\n", "DOCKING ROUTINE. THIS\n", "HAS THE RITUALISTIC TONE\n", "AND CADENCE OF PRESENT-\n", "DAY JET LANDING\n", "PROCEDURE. WE ONLY HEAR\n", "DOCKING CONTROL.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b46 \n", "------------------------------------------------------------------------\n", "B31\n", "ARIES-IB DECENDING.\n", "SEE AIR VIEW OF BASE.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t The Base at Clavius was the first\n", "\t\t\t\t\t American Lunar Settlement that\n", "\t\t\t\t\t could, in an emergency, be\n", "\t\t\t\t\t entirely self-supporting.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t Water and all the necessities of\n", "\t\t\t\t\t life for its eleven hundred men,\n", "\t\t\t\t\t women and children were produced\n", "\t\t\t\t\t from the Lunar rocks, after they\n", "\t\t\t\t\t had been crushed, heated and\n", "\t\t\t\t\t chemically processed.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b47 \n", "------------------------------------------------------------------------\n", "B32\n", "A GROUND BUS NUZZLES UP\n", "TO COUPLING SECTION OF\n", "ARIES-IB\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b48\t \n", "------------------------------------------------------------------------\n", "B33\n", "INSIDE GREAT AIRLOCK\n", "ENTRANCE. GROUND BUS\n", "PULLS IN. GIANT DOORS\n", "CLOSE BEHIND IT.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b49\t \n", "------------------------------------------------------------------------\n", "B34\n", "INSIDE SECOND AIRLOCK.\n", "DOORS OPEN AFTER OUT-\n", "SIDE SECTION DOORS ARE\n", "CLOSED. GROUND BUS\n", "PULLS IN. DOORS CLOSE\n", "BEHIND IT. SEE PEOPLE\n", "WAITING IN GLASSED-IN\n", "SECTION WAITING FOR\n", "SECOND AIRLOCK DOORS\n", "TO CLOSE.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b50 \n", "------------------------------------------------------------------------\n", "B35\n", "LOW GRAVITY\n", "GYMNASIUM TRICK\n", "WITH CHILDREN.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t One of the attractions of life on the\n", "\t\t\t\t\t Moon was undoubtedly the low\n", "\t\t\t\t\t gravity which produced a sense\n", "\t\t\t\t\t of general well-being.\n", "\n", "10/4/65\t\t\t\t\t\t\t\t\t\t b51 \n", "------------------------------------------------------------------------\n", "B36\n", "CHILDREN IN SCHOOL.\n", "TEACHER SHOWING THEM\n", "VIEWS OF EARTH AND MAP\n", "OF EARTH.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t The personnel of the Base and their\n", "\t\t\t\t\t children were the forerunners of new\n", "\t\t\t\t\t nations, new cultures that would\n", "\t\t\t\t\t ultimately spread out across the\n", "\t\t\t\t\t solar system. They no longer\n", "\t\t\t\t\t thought of Earth as home. The\n", "\t\t\t\t\t time was fast approaching when\n", "\t\t\t\t\t Earth, like all mothers, must say\n", "\t\t\t\t\t farewell to her children.\n", "\n", "DISSOLVE:\n", "\n", "10/5/65\t\t\t\t\t\t\t\t\t\t b52 \n", "------------------------------------------------------------------------\n", "B37\n", "LARGE CENTRAL\n", "RECEPTION AREA. DOORS\n", "BRANCHING OFF TO DIFF-\n", "RENT MAIN HALLS. SMALL\n", "POND WITH PLASTIC WHITE\n", "SWAN AND A BIT OF GRASS.\n", "A FEW BENCHES WITH THREE\n", "WOMEN AND THEIR CHILDREN\n", "HAVING OUTING.\n", "\n", "FLOYD AND WELCOMING\n", "PARTY WALK THROUGH\n", "AFTER EXITING ELEVATOR.\n", "HALVERSON, MICHAELS\n", "AND FIVE OTHERS.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t (voice echoing) I must congratulate\n", "\t\t\t\t\t you Halvorsen. you've done wonder-\n", "\t\t\t\t\t ful things with the decor since the\n", "\t\t\t\t\t last time I was here.\n", "\n", "\t\t\t\t\t HALVORSEN\n", "\t\t\t\t\t (voice echoing) Well... thank you,\n", "\t\t\t\t\t Dr. Floyd. We try to make the\n", "\t\t\t\t\t environment as earthlike as possible.\n", "\n", "DISSOLVE:\n", "\n", "10/5/65\t\t\t\t\t\t\t\t\t\t b53 \n", "------------------------------------------------------------------------\n", "B38\n", "LOW CEILING CONFERENCE\n", "ROOM, \"U\" SHAPED TABLE\n", "FACING THREE PROJECTION\n", "SCREENS. SEATED AROUND\n", "THE TABLE ARE TWENTY\n", "SENIOR BASE PERSONNEL.\n", "\n", "\t\t\t\t\t HALVORSEN\n", "\t\t\t\t\t Ladies and gentlemen, I should\n", "\t\t\t\t\t like to introduce Dr. Heywood\n", "\t\t\t\t\t Floyd, a distinguished member\n", "\t\t\t\t\t of the National Council of\n", "\t\t\t\t\t Astronautics. He has just\n", "\t\t\t\t\t completed a special flight here\n", "\t\t\t\t\t from Earth to be with us, and\n", "\t\t\t\t\t before the briefing he would\n", "\t\t\t\t\t like to say a few words. Dr.\n", "\t\t\t\t\t Floyd.\n", "\n", "POLITE APPLAUSE. FLOYD\n", "WALKS TO FRONT OF ROOM.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t First of all, I bring a personal\n", "\t\t\t\t\t message from Dr. Howell, who\n", "\t\t\t\t\t has asked me to convey his\n", "\t\t\t\t\t deepest appreciation to all of\n", "\t\t\t\t\t you for the personal sacrifices\n", "\t\t\t\t\t you have made, and of course\n", "\t\t\t\t\t his congratulations on your\n", "\t\t\t\t\t discovery which may well prove\n", "\t\t\t\t\t to be among the most significant\n", "\t\t\t\t\t in the history of science.\n", "\n", "POLITE APPLAUSE.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b54 \n", "------------------------------------------------------------------------\n", "B38\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD (cont'd)\n", "\t\t\t\t\t Mr. Halvorsen has made known\n", "\t\t\t\t\t to me some of the conflicting\n", "\t\t\t\t\t views held by many of you\n", "\t\t\t\t\t regarding the need for complete\n", "\t\t\t\t\t security in this matter, and\n", "\t\t\t\t\t more specifically your strong\n", "\t\t\t\t\t opposition to the cover story\n", "\t\t\t\t\t created to give the impression\n", "\t\t\t\t\t there is an epidemic at the Base.\n", "\t\t\t\t\t I understand that beyond it being\n", "\t\t\t\t\t a matter of principle, many of\n", "\t\t\t\t\t you are troubled by the concern\n", "\t\t\t\t\t and anxiety this story of an\n", "\t\t\t\t\t epidemic might cause your\n", "\t\t\t\t\t relatives and friends on Earth.\n", "\n", "\t\t\t\t\t I can understand and sympathize\n", "\t\t\t\t\t with your negative views. I have\n", "\t\t\t\t\t been personally embarrassed by\n", "\t\t\t\t\t this cover story. But I fully\n", "\t\t\t\t\t accept the need for absolute\n", "\t\t\t\t\t secrecy and I hope you will.\n", "\n", "\t\t\t\t\t It should not be difficult for all\n", "\t\t\t\t\t of you to realise the potential for\n", "\t\t\t\t\t cutural shock and social\n", "\t\t\t\t\t disorientation contained in the\n", "\t\t\t\t\t present situation if the facts\n", "\t\t\t\t\t were prematurely and suddenly\n", "\t\t\t\t\t made public without adequate\n", "\t\t\t\t\t preparation and conditioning.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b55 \n", "------------------------------------------------------------------------\n", "B38\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t This is the view of the Council\n", "\t\t\t\t\t and the purpose of my visit here\n", "\t\t\t\t\t is to gather addition facts and\n", "\t\t\t\t\t opinions on the situation and to\n", "\t\t\t\t\t prepare a report to the Council\n", "\t\t\t\t\t recommending when and how the\n", "\t\t\t\t\t news should eventually be\n", "\t\t\t\t\t announced. Are there any\n", "\t\t\t\t\t questions?\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t Dr. Floyd, how long do you think\n", "\t\t\t\t\t this can be kept under wraps?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t (pleasantly)\n", "\t\t\t\t\t I'm afraid it can and it will be\n", "\t\t\t\t\t kept under wraps as long as it\n", "\t\t\t\t\t is deemed to be necessary by\n", "\t\t\t\t\t the Council. And of course you\n", "\t\t\t\t\t know that the Council has requested\n", "\t\t\t\t\t that formal security oaths are to\n", "\t\t\t\t\t be obtained in writing from every-\n", "\t\t\t\t\t one who had any knowledge of this\n", "\t\t\t\t\t event. There must be adequate\n", "\t\t\t\t\t time for a full study to be made\n", "\t\t\t\t\t of the situation before any con-\n", "\t\t\t\t\t sideration can be given to\n", "\t\t\t\t\t making a public announcement.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b56 \n", "------------------------------------------------------------------------\n", "B38\n", "CONTINUED\n", "\n", "\t\t\t\t\t HALVORSEN\n", "\t\t\t\t\t We will, of course, cooperate\n", "\t\t\t\t\t in any way possible, Dr. Floyd.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b56a \n", "------------------------------------------------------------------------\n", "B39\n", "SEVERAL SCENIC VIEWS OF\n", "MOON ROCKET BUS SKIMMING\n", "OVER SURFACE OF MOON.\n", "\n", "10/5/65\t\t\t\t\t\t\t\t\t\t b57 \n", "------------------------------------------------------------------------\n", "B40\n", "INSIDE ROCKET BUS,\n", "FLOYD, HALVORSEN,\n", "MICHAELS, FOURTH\n", "MAN, PILOT AND\n", "CO-PILOT. ALL IN\n", "SPACE SUITS MINUS\n", "HELMETS.\n", "\n", "FLOYD IS SLOWELY\n", "LOOKING THROUGH\n", "SOME PHOTOGRAPHS\n", "AND MAGNETIC\n", "MAPS OF THE AREA.\n", "\n", "HE LOOKS OUT OF\n", "THE WINDOW,\n", "THOUGHTFULLY.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b58 \n", "------------------------------------------------------------------------\n", "B40\n", "CONTINUED\n", "\n", "THE PHOTOGRAPHES\n", "ARE TAKEN FROM A\n", "SATELLITE OF THE\n", "MOON'S SURFACE\n", "AND HAVE NUMBERED\n", "OPTICAL GRID\n", "BORDERS, LIKE\n", "RECENT MARS\n", "PHOTOS.\n", "\n", "A FEW SEATS\n", "AWAY, MICHAELS\n", "AND HALVORSEN\n", "CARRY OUT A VERY\n", "BANAL ADMINISTRATIVE\n", "CONVERSATION IN LOW\n", "TONES. IT SHOULD\n", "REVOLVE AROUND\n", "SOMETHING UTTERLY\n", "IRRELEVANT TO THE\n", "PRESENT CIRCUMSTANCES\n", "AND VERY MUCH LIKE\n", "THE KIND OF DISCUSSION\n", "ONE HEARS ALL THE\n", "TIME IN OTHER\n", "ORGANIZATIONS.\n", "\n", "DISSOLVE:\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b59\n", "------------------------------------------------------------------------\n", "B41\n", "TMA-1 EXCAVATION.\n", "AIR VIEW. ROCKET\n", "BUS DESCENDING.\n", "\n", "THERE ARE NO LIGHTS\n", "ON THE ACTUAL EXCA-\n", "VATION, ONLY THE\n", "LANDING STRIP AND\n", "THE MONITOR DOME.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b60\n", "------------------------------------------------------------------------\n", "B42\n", "LONG SHOT MONITOR DOMES\n", "WITH A BIT OF EXCAVATION\n", "IN SHOT. SIX SMALL FIGURES\n", "IN SPACE SUITS SLOWLY WALK\n", "TOWARD EXCAVATION.\n", "\n", "10/5/65\t\t\t\t\t\t\t\t\t\t b61\t \n", "------------------------------------------------------------------------\n", "B43\n", "THE PARTY STOPS\n", "AT TOP OF TMA-1\n", "EXCAVATION.\n", "\n", "A SMALL CONTROL\n", "PANEL MOUNTED AT\n", "THE HEAD OF THE\n", "RAMP. MICHAELS\n", "THROWS A SWITCH\n", "AND THE EXCAVATION \n", "IS SUDDENLY ILLUMINATED.\n", "\n", "\t\t\t\t\t HALVORSEN\n", "\t\t\t\t\t Well, there it is.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Can we go down there closer to\n", "\t\t\t\t\t it?\n", "\n", "\t\t\t\t\t HALVORSEN\n", "\t\t\t\t\t Certainly.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t b62\t \n", "------------------------------------------------------------------------\n", "B44\n", "THEY START DOWN\n", "WORKING RAMP\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Does your geology on it still\n", "\t\t\t\t\t check out?\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t Yes, it does. The sub-surface\n", "\t\t\t\t\t structure shows that it was\n", "\t\t\t\t\t deliberately buried about four\n", "\t\t\t\t\t million years ago.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t How can you tell it was\n", "\t\t\t\t\t deliberately buried?\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t By the deformation between\n", "\t\t\t\t\t the mother rock and the fill.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Any clue as to what it is?\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t Not really. It's completely\n", "\t\t\t\t\t inert. No sound or energy\n", "\t\t\t\t\t sources have been detected.\n", "\t\t\t\t\t The surface is made of\n", "\t\t\t\t\t something incredibly hard\n", "\t\t\t\t\t and we've been barely able\n", "\t\t\t\t\t to scratch it. A laser drill\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b63 \n", "------------------------------------------------------------------------\n", "B44\n", "CONTINUED\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t might do something, but we\n", "\t\t\t\t\t don't want to be too rough until\n", "\t\t\t\t\t we know a little more.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t But you don't have any idea as\n", "\t\t\t\t\t to what it is?\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t Tomb, shine, survey-marker\n", "\t\t\t\t\t spare part, take your choice.\n", "\n", "\t\t\t\t\t HALVORSEN\n", "\t\t\t\t\t The only thing about it that we are\n", "\t\t\t\t\t sure of is that it is the first direct\n", "\t\t\t\t\t evidence of intelligent life beyond\n", "\t\t\t\t\t the Earth.\n", "\n", "SILENT APPRECIATION\n", "\n", "\t\t\t\t\t HALVORSEN\n", "\t\t\t\t\t Four million years ago, something,\n", "\t\t\t\t\t presumably from the stars, must\n", "\t\t\t\t\t have swept through the solar\n", "\t\t\t\t\t system and left this behind.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b64 \n", "------------------------------------------------------------------------\n", "B44\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Was it abandoned, forgotten, left\n", "\t\t\t\t\t for a purpose?\n", "\n", "\t\t\t\t\t HALVORSEN\n", "\t\t\t\t\t I suppose we'll never know.\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t The moon would have made an\n", "\t\t\t\t\t excellent base camp for\n", "\t\t\t\t\t preliminary Earth surveys.\n", "\n", "SOME MORE SILENCE\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Any ideas about the colour?\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t Well, not really. At first glance,\n", "\t\t\t\t\t black would suggest something\n", "\t\t\t\t\t sun-powered, but then why would\n", "\t\t\t\t\t anyone deliberately bury a sun-\n", "\t\t\t\t\t powered device?\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Has it been exposed to any sun\n", "\t\t\t\t\t before now?\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t I don't think it has, but I'd\n", "\t\t\t\t\t like to check that. Simpson,\n", "\t\t\t\t\t what's the log on that?\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b65 \n", "------------------------------------------------------------------------\n", "B45\n", "INSIDE MONITOR DOME\n", "WE SEE A NUMBER OF\n", "TELEVISION DISPLAYS\n", "INCLUDING SEVERAL TV\n", "VIEWS OF FLOYD AND\n", "COMPANY IN THE\n", "EXCAVATION.\n", "\n", "\t\t\t\t\t SIMPSON\n", "\t\t\t\t\t The first surface was exposed at\n", "\t\t\t\t\t 0843 on the 12th April... Let me\n", "\t\t\t\t\t see... that would have been\n", "\t\t\t\t\t forty-five minutes after Lunar\n", "\t\t\t\t\t sun-set. I see here that\n", "\t\t\t\t\t special lighting equipment had\n", "\t\t\t\t\t to be brought up before any\n", "\t\t\t\t\t futher work could be done.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b66 \n", "------------------------------------------------------------------------\n", "B46\n", "TMA-1 EXCAVATION\n", "\n", "\t\t\t\t\t MICHAELS\n", "\t\t\t\t\t Thank you.\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t And so this is the first sun that\n", "\t\t\t\t\t it's had in four million years.\n", "\n", "\t\t\t\t\t PHOTOGRAPHER\n", "\t\t\t\t\t Excuse me, gentlemen, if you'd\n", "\t\t\t\t\t all line up on this side of the\n", "\t\t\t\t\t walkway we'd like to take a few\n", "\t\t\t\t\t photographes. Dr. Floyd, would\n", "\t\t\t\t\t you thand in the middle... Dr.\n", "\t\t\t\t\t Michaels on that side, Mr.\n", "\t\t\t\t\t Halvorsen on the other....\n", "\t\t\t\t\t thank you.\n", "\n", "THE PHOTOGRAPHER\n", "QUICKLY MAKES SOME\n", "EXPOSURES\n", "\n", "\t\t\t\t\t PHOTOGRAPHER\n", "\t\t\t\t\t Thank you very much gentlemen,\n", "\t\t\t\t\t I'll have the base photo section\n", "\t\t\t\t\t send you copies.\n", "\n", "AS THE MEN SLOWLY\n", "SEPERATE FROM THEIR\n", "PICTURE POSE, THERE\n", "IS A PIERCINGLY POWERFUL\n", "SERIES OF FIVE ELECTRONIC\n", "SHRIEKS, EACH LIKE A\n", "HIDEOUSLY OVER-LOADED\n", "AND DISTORTED TIME SIGNAL.\n", "FLOYD INVOLUNTARILY TRIES\n", "TO BLOCK HIS EARS WITH HIS\n", "SPACESUITED HANDS. THEN\n", "COMES MERCIFUL SILENCE.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b67 \n", "------------------------------------------------------------------------\n", "B47\n", "VARIOUS SHOTS OF\n", "SPACE MONITORS,\n", "ASTEROIDS, THE SUN,\n", "PLUTO, MARS.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t A hundred million miles beyond\n", "\t\t\t\t\t Mars, in the cold lonliness\n", "\t\t\t\t\t where no man had yet travelled,\n", "\t\t\t\t\t Deep-Space-Monitor-79 drifts\n", "\t\t\t\t\t slowly among the tangled orbits\n", "\t\t\t\t\t of the asteroids.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t Radiation detectors noted and\n", "\t\t\t\t\t analyzed incoming cosmic rays\n", "\t\t\t\t\t from the galaxy and points beyond;\n", "\t\t\t\t\t neutron and x-ray telescopes\n", "\t\t\t\t\t kept watch on strange stars that\n", "\t\t\t\t\t no human eye would eever see;\n", "\t\t\t\t\t magnetometers observed the\n", "\t\t\t\t\t gusts and hurricanes of the solar\n", "\t\t\t\t\t winds, as the sun breathed million\n", "\t\t\t\t\t mile-an-hour blasts of plasma\n", "\t\t\t\t\t into the faces of its circling\n", "\t\t\t\t\t children.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t All these things and many others\n", "\t\t\t\t\t were patiently noted by Deep-\n", "\t\t\t\t\t Space-Monitor-79, and recorded\n", "\t\t\t\t\t in its crystalline memory.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b68 \n", "------------------------------------------------------------------------\n", "B47\n", "CONTINUED\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t But now it had noted something\n", "\t\t\t\t\t strange - the faint yet\n", "\t\t\t\t\t unmistakable distrubance rippling\n", "\t\t\t\t\t across the solar system, and\n", "\t\t\t\t\t quite unlike any natural phenomena\n", "\t\t\t\t\t it had ever observed in the past.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t It was also observed by Orbiter\n", "\t\t\t\t\t M-15, circling Mars twice a\n", "\t\t\t\t\t day; and High Inclination Probe-\n", "\t\t\t\t\t 21, climbing slowly above the\n", "\t\t\t\t\t planet of the ecliptic; and even\n", "\t\t\t\t\t artificial Comet-5, heading out\n", "\t\t\t\t\t into the cold wastes beyond\n", "\t\t\t\t\t Pluto, along an orbit whose\n", "\t\t\t\t\t far point it would not reach for\n", "\t\t\t\t\t a thousand years.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t All noticed the peculiar burst of\n", "\t\t\t\t\t energy that leaped from the face\n", "\t\t\t\t\t of the Moon and moved across\n", "\t\t\t\t\t the solar system, throwing off a\n", "\t\t\t\t\t spray of radiation like the wake of\n", "\t\t\t\t\t a racing speedboat.\n", "\n", "11/25/65\t\t\t\t\t\t\t\t\t\t b69 \n", "------------------------------------------------------------------------\n", "B SECTION TIMING\n", "\n", "B1-1f\t00.50\t\t\tB25\t00.10 \n", "B2\t 00.10\t\t\tB26\t00.20\n", "B3\t 00.15\t\t\tB27\t00.05\n", "B4\t 00.15\t\t\tB28\tOut\n", "B5\t 00.20\t\t\tB29\t00.30\n", "B6\t 00.15\t\t\tB30\t00.30\n", "B7\t 00.10\t\t\tB31\t00.25\n", "B8\t 00.15\t\t\tB32\t00.20\n", "B9\t 00.10\t\t\tB33\t00.20\n", "B10\t 00.10\t\t\tB34\t00.30\n", "B11\t 00.15\t\t\tB35\t00.20\n", "B12\t 00.50\t\t\tB36\t00.20\n", "B13\t 01.10\t\t\tB37\t00.30\n", "B14\t 00.35\t\t\tB38\t02.15\n", "B15\t Out\t\t\t B39\t00.20\n", "B16\t Out\t\t\t B40\t00.50\n", "B17\t 01.15\t\t\tB41\t00.15\n", "B18\t 00.15\t\t\tB42\t00.10\n", "B19\t 01.00\t\t\tB43\t00.15\n", "B20\t 03.55\t\t\tB44\t01.40\n", "B21\t 00.20\t\t\tB45\t00.20\n", "B21A\t 00.20\t\t\tB46\t00.40\n", "B21B\t 00.15\t\t\tB47\t01.25\n", "B22\t 01.00\n", "B23\t 00.10\n", "B24\t 01.30\n", "\n", "B SECTION TOTAL: 28 MIN. 10 SECS.\n", "------------------------------------------------------------------------\n", "TITLE\n", "\n", "\t\t\t\t\t PART III\n", "\t\t\t\t\t 14 MONTHS LATER\n", "\n", "\t\t\t\t\t\t\t\t\t\t\t b69a\n", "------------------------------------------------------------------------\n", "C1\n", "DISCOVERY 1,000,000\n", "MILES FROM EARTH.\n", "SEE EARTH AND MOON\n", "SMALL.\n", "\n", "WE SEE A BLINDING\n", "FLASH EVERY 5\n", "SECONDS FROM ITS\n", "NUCLEAR PULSE\n", "PROPULSION. IT\n", "STRIKES AGAINST\n", "THE SHIP'S THICK\n", "ABLATIVE TAIL\n", "PLATE.\n", "\n", "SEVERAL CUTS OF\n", "THIS.\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c1 \n", "------------------------------------------------------------------------\n", "C2\n", "ANOTHER CLOSER\n", "VIEW OF DISCOVERY.\n", "SEE BOWMAN THROUGH\n", "COMMAND MODULE\n", "WINDOW.\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c2 \n", "------------------------------------------------------------------------\n", "C3\n", "BOWMAN INSIDE\n", "DISCOVERY COMMAND\n", "MODULE. HE IS\n", "LOOKING FOR\n", "SOMETHING.\n", "\n", "COMPUTER READOUT\n", "DISPLAY SHOWING AN\n", "EVER-SHIFTING\n", "ASSORTMENT OF\n", "COLOR-CODED LINEAR\n", "PROJECTIONS.\n", "\n", "WE SEE POOLE IN\n", "BACKGROUND IN\n", "COMPUTER BRAIN\n", "CENTRE AREA.\n", "AFTER A FEW\n", "SECONDS HE EXITS.\n", "\n", "THE ELAPSED\n", "MISSION TIMER\n", "READS \"DAY 003,\n", "HOUR 14, MINUTE\n", "32, SECOND 10.\"\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c3 \n", "------------------------------------------------------------------------\n", "C4\n", "BOWMAN EXITS TO\n", "ACCESS-LINK AIRLOCK.\n", "BRIGHT COLOR-CODED\n", "DOORS LEAD TO\n", "CENTRIFUGE AND POD\n", "BAY. LARGE ILLUMUN-\n", "ATED PRINTED WARNINGS\n", "AND INSTRUCTIONS\n", "GOVERNING LINK\n", "OPERATIONS ARE SEEN.\n", "\n", "HE PRESSES NECESSARY\n", "BUTTONS TO OPERATE\n", "AIRLOCK DOOR TO\n", "POD BAY.\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c4 \n", "------------------------------------------------------------------------\n", "C5\n", "BOWMAN ENTERS POD\n", "BAY AND CONTINUES\n", "HIS SEARCH. SUDDENLY\n", "HE FINDS IT - HIS\n", "ELECTRONIC NEWSPAD.\n", "\n", "HE EXITS POD BAY.\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c5 \n", "------------------------------------------------------------------------\n", "C6\n", "IN THE AIRLOCK-\n", "LINK BOWMAN\n", "OPERATES BUTTONS\n", "TO OPEN DOOR\n", "MARKED \"CENTRIFUGE\".\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c6\t \n", "------------------------------------------------------------------------\n", "C7\n", "INSIDE THE\n", "CENTRIFUGE HUB\n", "BOWMAN MOVES TO\n", "THE\n", "\n", "ENTRY PORT\n", "CONTROL PANEL\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Hi. Frank... coming in, please.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Right. Just a sec.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Okay. (pause)\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Okay, come on down.\n", "\n", "WE SEE THE\n", "ROTATING HUB\n", "COLLAR AT THE\n", "END. BEHIND IT\n", "WE SEE\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c7 \n", "------------------------------------------------------------------------\n", "C8\n", "THE CENTRIFUGE\n", "TV-DISPLAY SHOWING\n", "SLEEPERS AND POOLE\n", "SLOWLY ROTATING BY.\n", "\n", "POOLE SECURES SOME\n", "LOOSE GEAR.\n", "\n", "POOLE LOOKS UP TO\n", "TV MONITOR LENS\n", "AND WAVES.\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c8 \n", "------------------------------------------------------------------------\n", "C9\n", "BOWMAN AT PANEL.\n", "STOPS ROTATION\n", "AND MOVES TO\n", "ENTRY PORT.\n", "\n", "WHEN ROTATION\n", "STOPS WE SEE A SIGN\n", "LIGHTS UP \"WEIGHTLESS\n", "CONDITION\".\n", "\n", "AS BOWMAN DISAPPEARS\n", "DOWN ENTRY PORT WE\n", "SEE HIM ON\n", "\n", "TV-MONITOR, DESCENDING\n", "LADDER. AT THE BASE\n", "OF THE LADDER HE KEYS\n", "THE CENTRIFUGE\n", "OPERATION PANEL.\n", "WE SEE TV-PICTURE\n", "START TO ROTATE\n", "AGAIN. \"WEIGHTLESS\n", "CONDITION\" SIGN GOES\n", "OUT.\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c9 \n", "------------------------------------------------------------------------\n", "C10\n", "INSIDE CENTRIFUGE\n", "BOWMAN MAKES 180 DEGREE\n", "WALK TO POOLE.\n", "ON WAY HE PASSES\n", "THE SLEEPERS.\n", "\n", "WE GET A GOOD\n", "LOOK AT THE THREE\n", "MEN IN THEIR\n", "HIBERNACULUMS.\n", "\n", "POOLE IS SEATED\n", "AT A TABLE READING\n", "HIS ELECTRONIC\n", "NEWSPAD.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t (softly) Hi... How's it\n", "\t\t\t\t\t going?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t (absent but friendly) Great.\n", "\n", "BOWMAN OPERATES\n", "ARTIFICIAL FOOD\n", "UNIT, TAKES HIS TRAY\n", "AND SITS DOWN. KEYS\n", "ON HIS ELECTRONIC\n", "NEWSPAD AND BEGINS\n", "TO EAT. BOTH MEN\n", "EAT IN A FRIENDLY\n", "AND RELAXED SILENCE.\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c10 \n", "------------------------------------------------------------------------\n", "C11\n", "DISCOVERY IN SPACE,\n", "STILL NUCLEAR\n", "PULSING. EARTH\n", "AND MOON CAN BE\n", "SEEN IN BACKGROUND.\n", "\n", "DISSOLVE:\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c11 \n", "------------------------------------------------------------------------\n", "C12\n", "POOLE IS FINISHED.\n", "\n", "BOWMAN IS STILL\n", "READING AND\n", "WORKING ON HIS\n", "DESSERT.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Dave, if you've a minute, I'd like\n", "\t\t\t\t\t your advice on something.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Sure, what is it?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Well, it's nothing really important,\n", "\t\t\t\t\t but it's annoying.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t What's up?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t It's about my salary cheques.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Well I got the papers on my\n", "\t\t\t\t\t official up-grading to AGS-19\n", "\t\t\t\t\t two weeks before we left.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c12 \n", "------------------------------------------------------------------------\n", "C12\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes, I remember you mentioning it.\n", "\t\t\t\t\t I got mine about the same time.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t That's right. Well, naturally,\n", "\t\t\t\t\t I didn't say anything to Payroll.\n", "\t\t\t\t\t I assumed they'd start paying me\n", "\t\t\t\t\t at the higher grade on the next pay\n", "\t\t\t\t\t cheque. But it's been almost\n", "\t\t\t\t\t three weeks now and I'm still\n", "\t\t\t\t\t being paid as an AGS-18.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Interesting that you mention it,\n", "\t\t\t\t\t because I've got the same problem.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Really.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Yesterday, I finally called the\n", "\t\t\t\t\t Accounting Office at Mission\n", "\t\t\t\t\t Control, and all they could tell me\n", "\t\t\t\t\t was that they'd received the AGS-19\n", "\t\t\t\t\t notification for the other three but\n", "\t\t\t\t\t not mine, and apparently not yours\n", "\t\t\t\t\t either.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c13 \n", "------------------------------------------------------------------------\n", "C12\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Did they have any explanation for\n", "\t\t\t\t\t this?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Not really. They just said it might\n", "\t\t\t\t\t be because we trained at Houston and\n", "\t\t\t\t\t they trained in Marshall, and that\n", "\t\t\t\t\t we're being charged against differ-\n", "\t\t\t\t\t ent accounting offices.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t It's possible.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Well, what do you think we ought\n", "\t\t\t\t\t to do about it?\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I don't think we should make any\n", "\t\t\t\t\t fuss about it yet. I'm sure they'll\n", "\t\t\t\t\t straighten it out.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I must say, I never did understand\n", "\t\t\t\t\t why they split us into two groups\n", "\t\t\t\t\t for training.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t No. I never did, either.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c14 \n", "------------------------------------------------------------------------\n", "C12\n", "CONTINUED\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t We spent so little time with them,\n", "\t\t\t\t\t I have trouble keeping their names\n", "\t\t\t\t\t straight.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I suppose the idea was specialized\n", "\t\t\t\t\t training.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I suppose so. Though, of course,\n", "\t\t\t\t\t there's a more sinister explanation.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Oh?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Yes. You must have heard the\n", "\t\t\t\t\t rumour that went around during\n", "\t\t\t\t\t orbital check-out.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t No, as a matter of fact, I didn't.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Oh, well, apparently there's\n", "\t\t\t\t\t something about the mission that\n", "\t\t\t\t\t the sleeping beauties know that\n", "\t\t\t\t\t we don't know, and that's why we\n", "\t\t\t\t\t were trained separately and\n", "\t\t\t\t\t that's why they were put to sleep\n", "\t\t\t\t\t before they were even taken aboard.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c15 \n", "------------------------------------------------------------------------\n", "C12\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, what is it?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I don't know. All I heard is that\n", "\t\t\t\t\t there's something about the\n", "\t\t\t\t\t mission we weren't told.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t That seems very unlikely.\n", "\n", "\t\t\t\t\t POOLE \n", "\t\t\t\t\t Yes, I thought so.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Of course, it would be very easy\n", "\t\t\t\t\t for us to find out now.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t How?\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Just ask Hal. It's conceivable\n", "\t\t\t\t\t they might keep something from\n", "\t\t\t\t\t us, but they'd never keep anything\n", "\t\t\t\t\t from Hal.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t That's true.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c15a \n", "------------------------------------------------------------------------\n", "C12\t\t\t\t\t\t \n", "CONINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t (sighs) Well... it's silly, but...\n", "\t\t\t\t\t if you want to, why don't you?\n", "\n", "POOLE WALKS TO THE\n", "HAL 9000 COMPUTER\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal... Dave and I believe that\n", "\t\t\t\t\t there's something about the\n", "\t\t\t\t\t mission that we weren't told.\n", "\t\t\t\t\t Something that the rest of the\n", "\t\t\t\t\t crew know and that you know.\n", "\t\t\t\t\t We'd like to know whether this\n", "\t\t\t\t\t is true.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I'm sorry, Frank, but I don't\n", "\t\t\t\t\t think I can answer that question\n", "\t\t\t\t\t without knowing everything that\n", "\t\t\t\t\t all of you know.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t He's got a point.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Okay, then how do we re-phrase\n", "\t\t\t\t\t the question?\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c15c\t \n", "------------------------------------------------------------------------\n", "C12 \n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Still, you really don't believe it,\n", "\t\t\t\t\t do you?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Not really. Though, it is strange\n", "\t\t\t\t\t when you think about it. It didn't\n", "\t\t\t\t\t really make any sense to keep\n", "\t\t\t\t\t us apart during training.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes, but it's to fantastic to think\n", "\t\t\t\t\t that they'd keep something from us.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I know. It would be almost\n", "\t\t\t\t\t inconceivable.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t But not completely inconceivable?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I suppose it isn't logically impossible.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I guess it isn't.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Still, all we have to do is ask Hal.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c15b\n", "------------------------------------------------------------------------ \n", "C12\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, the only important aspect of\n", "\t\t\t\t\t the mission are: where are we\n", "\t\t\t\t\t going, what will we do when we\n", "\t\t\t\t\t get there, when are we coming\n", "\t\t\t\t\t back, and... why are we going?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Right. Hal, tell me whether the\n", "\t\t\t\t\t following statements are true or\n", "\t\t\t\t\t false.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I will if I can, Frank.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Our Mission Profile calls for\n", "\t\t\t\t\t Discovery going to Saturn.\n", "\t\t\t\t\t True or false?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t True.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Our transit time is 257 days. Is\n", "\t\t\t\t\t that true?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t That's true.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c15d\n", "------------------------------------------------------------------------ \n", "C12\n", "CONTINUED\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t At the end of a hundred days of\n", "\t\t\t\t\t exploration, we will all go into \n", "\t\t\t\t\t hibernation. Is this true?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t That's true.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Approximately five years after we\n", "\t\t\t\t\t go into hibernation, the recovery\n", "\t\t\t\t\t vehicle will make rendezous with\n", "\t\t\t\t\t us and bring us back. Is this true?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t That's true\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t There is no other purpose for this\n", "\t\t\t\t\t mission than to carry out a\n", "\t\t\t\t\t continuation of the space program,\n", "\t\t\t\t\t and to further our general\n", "\t\t\t\t\t knowledge of the planets. Is that\n", "\t\t\t\t\t true?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t That's true.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Thank you very much, Hal.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c15e\n", "------------------------------------------------------------------------ \n", "C12\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I hope I've been able to be of\n", "\t\t\t\t\t some help.\n", "\n", "BOTH MEN LOOK AT\n", "EACH OTHER RATHER\n", "SHEEPISHLY.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c15f\n", "------------------------------------------------------------------------ \n", "C13\n", "\n", "DISCOVERY IN SPACE.\n", "PULSING ALONG.\n", "EARTH AND MOON.\n", "\n", "11/19/65\t\t\t\t\t\t\t\t\t\t c16\n", "------------------------------------------------------------------------ \n", "C14\n", "DELETED\n", "\n", "C15\n", "DELETED\n", "\n", "C15\n", "DELETED\n", "\n", "C16\n", "DELETED\n", "\n", "PAGES c17 - c41 DELETED\n", "------------------------------------------------------------------------ \n", "C17\n", "\n", "DOCUMENTARY SEQUENCE\n", "ILLUSTRATING THE\n", "FOLLOWING ACTIVITIES.\n", "\n", "SPLIT SCREEN TECHNIQUE\n", "AND SUPERIMPOSED CLOCK\n", "TO GIVE SENSE OF\n", "SIMULTANEOUS ACTION AND\n", "THE FEELING OF A TYPICAL\n", "DAY.\n", "\n", "IN THE COURSE OF THESE\n", "ACTIVITIES WE SHALL SEE\n", "THE COMPUTER USED IN\n", "ALL OF ITS FUNCTIONS.\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t Bowman and Poole settled down\n", "\t\t\t\t\t to the peaeful monotony of the\n", "\t\t\t\t\t voyage, and the next three months\n", "\t\t\t\t\t passed without incident.\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c42\n", "------------------------------------------------------------------------ \n", "C17\n", "CONTINUED\n", "\n", "BOWMAN\t\t\t\t TIME\t\t\t\t POOLE\n", "\n", "a1\t\t\t\t\t\t\t\t b1\n", "TV NEWS - MORNING\t\t 0800\t\t\t\t WAKES UP\n", "\n", "a2\t\t\t\t\t\t\t\t b2\n", "BEDTIME SNACK\t\t\t 0900\t\t\t\t BREAKFAST\n", "\n", "a3\t\t\t\t\t\t\t\t b3\n", "TO SLEEP WITH\t\t\t 1000\t\t\t\t GYMNASIUM\n", "INSTANT ELECTRO-\n", "NARCOSIS AND EAR\n", "PLUGS.\n", "\n", "a4\t\t\t\t\t\t\t\t b4\n", "SLEEP\t\t\t\t 1100\t\t\t\t SHIP INSPECTION\n", "\n", "a5\t\t\t\t\t\t\t\t b5\n", "SLEEP\t\t\t\t 1200\t\t\t\t HOUSEHOLD DUTIES\n", "\n", "a6\t\t\t\t\t\t\t\t b6\n", "SLEEP\t\t\t\t 1300\t\t\t\t LUNCH\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c43\n", "------------------------------------------------------------------------ \n", "C17\n", "CONTINUED\n", "\n", "BOWMAN\t\t\t\t TIME\t\t\t\t POOLE\n", "\n", "a7\t\t\t\t\t\t\t\t b7\n", "SLEEP\t\t\t\t 1400\t\t\t\t EXPERIMENTS AND\n", "\t\t\t\t\t\t\t\t ASTRONOMY\n", "\n", "a8\t\t\t\t\t\t\t\t b8\n", "SLEEP\t\t\t\t 1500\t\t\t\t EXPERIMENTS AND\n", "\t\t\t\t\t\t\t\t ASTRONOMY\n", "\n", "a9\t\t\t\t\t\t\t\t b9\n", "SLEEP\t\t\t\t 1600\t\t\t\t RECREATION\n", "\n", "a10\t\t\t\t\t\t\t\t b10\n", "SLEEP\t\t\t\t 1700\t\t\t\t RECREATION\n", "\n", "a11\t\t\t\t\t\t\t\t b11\n", "WAKES UP\t\t\t\t 1800\t\t\t\t GYMNASIUM\n", "\n", "a12\t\t\t\t\t\t\t\t b12\n", "BREAKFAST\t\t\t\t1900\t\t\t\t DINNER\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c44\n", "------------------------------------------------------------------------\n", "C17\n", "CONTINUED\n", "\n", "BOWMAN\t\t\t\t TIME\t\t\t\t POOLE\n", "\n", "a13\t\t\t\t\t\t\t\t b13\n", "GYMNASIUM\t\t\t\t2000\t\t\t\t TV NEWS - EVENING\n", "\t\t\t\t\t\t\t\t PAPERS\n", "\n", "a14\t\t\t\t\t\t\t\t b14\n", "MISSION CONTROL\t\t 2100\t\t\t\t MISSION CONTROL\n", "REPORT\t\t\t\t\t\t\t REPORT\n", "\n", "a15\t\t\t\t\t\t\t\t b15\n", "FAMILY AND SOCIAL\t\t 2200\t\t\t\t FAMILY AND SOCIAL\n", "TV CHAT\t\t\t\t\t\t\t TV CHAT\n", "\n", "a16\t\t\t\t\t\t\t\t b16\n", "FILMS\t\t\t\t 2300\t\t\t\t FILMS\n", "\n", "a17\t\t\t\t\t\t\t\t b17\n", "LUNCH\t\t\t\t 2400\t\t\t\t BEDTIME SNACK\n", "\n", "a18\t\t\t\t\t\t\t\t b18\n", "INSPECTION\t\t\t 0100\t\t\t\t INSTANT ELECTRO-\n", "\t\t\t\t\t\t\t\t NARCOSIS SLEEP\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c45\n", "------------------------------------------------------------------------ \n", "C17\n", "CONTINUED\n", "\n", "BOWMAN\t\t\t\t TIME\t\t\t\t POOLE\n", "\n", "a19\t\t\t\t\t\t\t\t b19\n", "EXPERIMENTS AND\t\t 0200\t\t\t\t SLEEP\n", "ASTRONOMY\n", "\n", "a20\t\t\t\t\t\t\t\t b20\n", "EXPERIMENTS AND\t\t 0300\t\t\t\t SLEEP\n", "\n", "a21\t\t\t\t\t\t\t\t b21\n", "RECREATION\t\t\t 0400\t\t\t\t SLEEP\n", "\n", "a22\t\t\t\t\t\t\t\t b22\n", "HOUSEHOLD DUTIES\t\t 0500\t\t\t\t SLEEP\n", "\n", "a23\t\t\t\t\t\t\t\t b23\n", "GYMNASIUM\t\t\t\t0600\t\t\t\t SLEEP\n", "\n", "a24\t\t\t\t\t\t\t\t b24\n", "DINNER\t\t\t\t 0700\t\t\t\t SLEEP\n", "\n", "11/24/65\t\t\t\t\t\t\t c46\n", "------------------------------------------------------------------------\n", "C18\n", "DISCOVERY IN SPACE\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c47\n", "------------------------------------------------------------------------ \n", "C19\n", "CENTRIFUGE\n", "\n", "BOWMAN SITTING AT\n", "PERSONAL COMMUNI-\n", "CATION PANEL. POOLE\n", "STANDING NEARBY.\n", "\n", "BOWMAN'S PARENTS\n", "ARE SEEN ON THE VISION\n", "SCREEN. MOTHER, FATHER\n", "AND YOUNGER SISTER.\n", "\n", "THEY ARE ALL SINGING\n", "\"HAPPY BIRTHDAY\". THE\n", "PARENTS, POOLE AND HAL.\n", "\n", "THE SONG ENDS.\n", "\n", "\t\t\t\t\t FATHER\n", "\t\t\t\t\t Well, David there is a man telling\n", "\t\t\t\t\t us that we've used up our time.\n", "\n", "\t\t\t\t\t MOTHER\n", "\t\t\t\t\t David... again we want to wish\n", "\t\t\t\t\t you a happy Birthday and God speed.\n", "\t\t\t\t\t We'll talk to you again tomorrow.\n", "\t\t\t\t\t 'Bye, 'bye now.\n", "\n", "CHORUS OF\n", "\"GOODBYES\".\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c48\n", "------------------------------------------------------------------------\n", "C19\n", "CONTINUED\n", "\n", "VISION SCREEN GOES\n", "BLANK\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Sorry to interrupt the festivities,\n", "\t\t\t\t\t Dave, but I think we've got a \n", "\t\t\t\t\t problem.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t What is it, Hal?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t MY F.P.C. shows an impending\n", "\t\t\t\t\t failure of the antenna orientation\n", "\t\t\t\t\t unit.\n", "\n", "C20\n", "TV DISPLAYS DIAGRAM\n", "OF SKELETONISED\n", "PICTURE OF SHIP.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t C49\n", "------------------------------------------------------------------------ \n", "C21\n", "PICTURE CHANGES TO\n", "CLOSER SECTIONALISED\n", "VIEW OF SHIP.\n", "\n", "C22\n", "PICTURE CHANGES TO\n", "ACTUAL COMPONENT\n", "IN COLOUR RELIEF AND\n", "ITS WAREHOUSE NUMBER\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t The A.O. unit should be replaced\n", "\t\t\t\t\t within the next seventy-two hours.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Right. Let me see the antenna\n", "\t\t\t\t\t alignment display, please.\n", "\n", "C23\n", "TV DISPLAY OF EARTH\n", "VERY SMALL IN CROSS-\n", "HAIRS OF A GRID PICTURE.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c50\n", "------------------------------------------------------------------------\n", "C24\n", "CUT TO EXTERIOR VIEW\n", "OF THE BIG DISH ANTENNA\n", "AND EARTH ALIGNMENT\n", "TELESCOPE.\n", "\n", "C25\n", "CENTRIFUGE\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t The unit is still operational, Dave.\n", "\t\t\t\t\t but it will fail within seventy-two\n", "\t\t\t\t\t hours.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I understand Hal. We'll take care\n", "\t\t\t\t\t of it. Please, let me have the hard\n", "\t\t\t\t\t copy.\n", "\n", "XEROXED DIAGRAMS\n", "COME OUT OF A SLOT.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Strange that the A.O. unit should\n", "\t\t\t\t\t go so quickly.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, I suppose it's lucky that\n", "\t\t\t\t\t that's the only trouble we've had\n", "\t\t\t\t\t so far.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c50a\n", "------------------------------------------------------------------------ \n", "C26\n", "DISCOVERY IN SPACE.\n", "NOT PLANETS VISIBLE.\n", "\n", "SHOTS OF ANTENNA.\n", "\n", "(NARRARTION TO\n", "EXPLAIN TENOUS\n", "AND ESSENTIAL LINK\n", "TO EARTH. ALSO,\n", "WHAT TRACKING \n", "TELESCOPE DOES.)\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c51\n", "------------------------------------------------------------------------\n", "C27\n", "CENTRIFUGE\n", "\n", "WE SEE BOWMAN AND\n", "POOLE GO TO A CUPBOARD\n", "LABELLED IN PAPER TAPE,\n", "\"RANDOM DECISION\n", "MAKER.\"\n", "\n", "THEY REMOVED A SILVER\n", "DOLLAR IN A PROTECTIVE\n", "CASE.\n", "\n", "POOLE FLIPS THE COIN.\n", "BOWMAN CALLS \"HEAD.\"\n", "\n", "IT IS TAILS. POOLE\n", "WINS.\n", "\n", "POOLE LOOKS PLEASED.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c52\n", "\t\t\t\t\t\t\t\t\t (c53 DELETED)\n", "------------------------------------------------------------------------ \n", "C28\n", "DISCOVERY IN SPACE\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c54\n", "------------------------------------------------------------------------\n", "C29\n", "POD BAY. POOLE\n", "IN SPACE SUIT DOING\n", "PRELIMINARY CHECK\n", "OUT.\n", "\n", "C30\n", "COMMAND MODULE.\n", "BOWMAN AT FLIGHT\n", "CONTROL. SEE TV\n", "PICTURE OF POOLE\n", "IN POD BAY.\n", "\n", "C31\n", "HAL'S POD BAY\n", "CONSOLE WITH EYE.\n", "\n", "C32\n", "POOLE GOES TO POD\n", "BAY WAREHOUSE\n", "SECTION AND OBTAINS\n", "COMPONENT. HE\n", "CARRIES IT BACK TO\n", "THE POD AND PLACES\n", "IT IN FRONT OF THE\n", "FLOOR.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal, have pod arms secure the\n", "\t\t\t\t\t component.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Roger.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c55\n", "------------------------------------------------------------------------ \n", "C32\n", "CONTINUED\n", "\n", "SEE POD ARMS\n", "SECURE COMPONENT.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal, please rotate Pod Number\n", "\t\t\t\t\t Two.\n", "\n", "SEE THE CENTRE POD\n", "ROTATE TO FACE THE\n", "POD BAY DOORS.\n", "\n", "POOLE ENTERS POD.\n", "\n", "INSIDE POD, HE DOES\n", "INITIAL PRE-FLIGHT\n", "CHECK, TRIES BUTTONS\n", "AND CONTROLS.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t How do you read me, Dave?\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c56\n", "------------------------------------------------------------------------\n", "C33\n", "BOWMAN IN COMMAND\n", "MODULE.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Five by five, Frank.\n", "\n", "C34\n", "INSIDE POD.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t How do you read me, Hal?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Five by five, Frank.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal, I'm going out now to replace\n", "\t\t\t\t\t the A.O. unit.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I understand.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal, maintain normal E.V.A.\n", "\t\t\t\t\t condition.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Roger.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal, check all airlock doors secure.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c57\n", "------------------------------------------------------------------------ \n", "C34\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t All airlock doors are secure.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Decompress Pod Bay.\n", "\n", "SEE BIG POD BAY AIR\n", "PUMPS AT WORK.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Pod Bay is decompressed. All\n", "\t\t\t\t\t doors are secure. You are free\n", "\t\t\t\t\t to open pod bay doors.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Opening pod bay doors.\n", "\n", "INSIDE POD, POOLE\n", "KEYS OPEN POD BAY\n", "DOORS.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c58\n", "------------------------------------------------------------------------\n", "C34\n", "CONTINUED\n", "\n", "POD SLOWLY EDGES\n", "OUT OF POD BAY.\n", "\n", "C35\n", "POOLE MANOEUVRES\n", "THE POD CAREFULLY\n", "AWAY FROM DISCOVERY.\n", "\n", "C36\n", "INSIDE COMMAND \n", "MODULE, BOWMAN\n", "CAN SEE TINY POD\n", "MANOEUVRING\n", "DIRECTLY IN FRONT.\n", "\n", "C37\n", "POOLE SEE BOWMAN\n", "IN COMMAND MODULE\n", "WINDOW.\n", "\n", "C38\n", "POD SLOWLY MANOEVRES\n", "TO ANTENNA.\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c59\n", "------------------------------------------------------------------------ \n", "C39\n", "POD FASTENS ITSELF\n", "MAGNETICALLY TO\n", "SIDES OF DISCOVERY\n", "AT BASE OF ANTENNA.\n", "\n", "C40\n", "SPECIAL MAGNETIC\n", "PLATES GRIP\n", "DISCOVERY SIDES.\n", "\n", "C41\n", "THE POD ARMS WORK\n", "TO REMOVE THE FAULTY\n", "COMPONENT.\n", "\n", "C42\n", "EASY FLIP-BOLTS OF\n", "A SPECIAL DESIGN\n", "FACILITATE JOB.\n", "\n", "C43\n", "INSIDE THE POD,\n", "POOLE WORKS THE\n", "ARMS BY SPECIAL\n", "CONTROL.\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c60\n", "------------------------------------------------------------------------\n", "C44\n", "IN COMMAND MODULE,\n", "BOWMAN SEES INSERT\n", "OF WORK TAKEN FROM\n", "TV CAMERA POINT-OF-\n", "VIEW IN POD HAND.\n", "\n", "C45\n", "HAL STANDS BY.\n", "\n", "C46\n", "POOLE SECURES THE\n", "FAULTY PART IN ONE\n", "HAND.\n", "\n", "C47\n", "THE NEW COMPONENT\n", "IS FITTED INTO PLACE\n", "BY THE OTHER THREE\n", "HANDS ARE SNAPPED\n", "CLOSED WITH THE\n", "SPECIALLY DESIGNED\n", "FLIP-BOLTS.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal, please acknowledge\n", "\t\t\t\t\t component correctly installed\n", "\t\t\t\t\t and fully operational.\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c61\n", "------------------------------------------------------------------------ \n", "C47\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t The component is correctly\n", "\t\t\t\t\t installed and fully operational.\n", "\n", "C48\n", "THE POD FLOATS AWAY\n", "FROM THE DISCOVERY BY\n", "SHUTTING OFF THE\n", "ELECTRO-MAGNETIC\n", "PLATES.\n", "\n", "C49\n", "THE POD MANOEUVRES\n", "AWAY FROM THE ANTENNA\n", "AND OUT IN FRONT OF\n", "DISCOVERY.\n", "\n", "C50\n", "BOWMAN SEE THE POD\n", "THROUGH THE COMMAND\n", "MODULE WINDOW.\n", "\n", "C51\n", "POOLE SEES BOWMAN\n", "IN COMMAND MODULE\n", "WINDOW.\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c62\n", "------------------------------------------------------------------------\n", "C52\n", "POOLE CAREFULLY\n", "MANOEUVRES TOWARD\n", "THE POD DOORS.\n", "\n", "C53\n", "POD STOPS A HUNDRED \n", "FEET AWAY.\n", "\n", "C54\n", "POOLE KEYS AUTOMATIC\n", "DOCKING ALIGNMENT\n", "MODE.\n", "\n", "C55\n", "POOLE CHECKS AIRLOCK\n", "SAFETY PROCEDURE WITH\n", "HAL.\n", "\n", "C56\n", "HAL APPROVES ENTRY.\n", "\n", "C57\n", "POOLE ACTUATES POD\n", "BAY DOORS OPEN.\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c63\n", "------------------------------------------------------------------------ \n", "C58\n", "SEE POD BAY DOORS\n", "OPEN.\n", "\n", "C59\n", "POD CAREFULLY\n", "MANOEUVRES ON\n", "TO DOCKING ARM,\n", "WHICH THEN DRAWS\n", "POD INTO POD BAY.\n", "\n", "DISSOLVE:\n", "\n", "11/24/65\t\t\t\t\t\t\t\t\t\t c64\n", "------------------------------------------------------------------------\n", "C60\n", "POD BAY\n", "\n", "THE FAULTY A.O. UNIT\n", "LIES ON A TESTING BENCH\n", "CONNECTED TO ELECTRONIC\n", "GEAR.\n", "\n", "POOLE STANDS FOR\n", "SOME TIME CHECKING HIS\n", "RESULTS.\n", "\n", "THERE SHOULD BE SOME\n", "UNDERSTANDABLE DISPLAY,\n", "WHICH INDICATES THE PART\n", "IS FUNCTIONING PROPERLY,\n", "EVEN UNDER ONE HUNDRED\n", "PERCENT OVERLOAD.\n", "\n", "CIRUIT CONTINUITY\n", "PULSE SEQUENCER.\n", "\n", "ENVIRONMENTAL VIBRATION.\n", "\n", "VK INTEGRITY.\n", "\n", "BOWMAN ENTERS\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t How's it going?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I don't know. I've checked this\n", "\t\t\t\t\t damn thing four times now and\n", "\t\t\t\t\t even under a hundred per cent\n", "\t\t\t\t\t\t\t\t\t\t (cont'd)\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c65\n", "------------------------------------------------------------------------ \n", "C60\n", "CONT'D\n", "\n", "\t\t\t\t\t POOLE (cont'd)\n", "\t\t\t\t\t overload. there's no fault prediction\n", "\t\t\t\t\t indicated.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, that's something.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Yes, I don't know what to make of it.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I suppose computers have been known\n", "\t\t\t\t\t to be wrong.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Yes, but it's more likely that the\n", "\t\t\t\t\t tolerances on our testing gear are\n", "\t\t\t\t\t too low.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Anyway, it's just as well that we\n", "\t\t\t\t\t replace it. Better safe than\n", "\t\t\t\t\t sorry.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c65a\n", "------------------------------------------------------------------------\n", "C61\n", "DISCOVERY IN SPACE\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c66\n", "------------------------------------------------------------------------ \n", "C62\n", "CENTRIFUGE\n", "\n", "BOWMAN ASLEEP.\n", "POOLE WATCHING\n", "AN ASTEROID IN THE\n", "TELESCOPE.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Hello, Frank, can I have a word with\n", "\t\t\t\t\t you?\n", "\n", "POOLE WALKS TO THE\n", "COMPUTER.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Yes, Hal, what's up?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t It looks like we have another bad\n", "\t\t\t\t\t A.O. unit. My FPC shows another\n", "\t\t\t\t\t impending failure.\n", "\n", "C63\n", "WE SEE DISPLAY APPEAR\n", "ON THE SCREEN SHOWING\n", "SKELETONISED VERSION\n", "OF SHIP, CUTTING TO\n", "SECTIONALISED VIEW,\n", "CUTTING TO CLOSE\n", "VIEW OF THE PART.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c67\n", "------------------------------------------------------------------------\n", "C64\n", "CENTRIFUGE\n", "POOLE THINKS FOR\n", "SEVERAL SECONDS.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Gee, that's strange, Hal. We\n", "\t\t\t\t\t checked the other unit and couldn't\n", "\t\t\t\t\t find anything wrong with it.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I know you did, Frank, but I assure\n", "\t\t\t\t\t you there was an impending failure.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Let me see the tracking alignment\n", "\t\t\t\t\t display.\n", "\n", "C65\n", "COMPUTER DISPLAYS\n", "THE VIEW OF EARTH\n", "IN THE CENTRE OF THE\n", "GRID WITH CROSS-\n", "HAIRS. THE EARTH IS\n", "PERFECTLY CENTRED.\n", "\n", "C66\n", "CENTRIFUGE\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t There's nothing wrong with it at\n", "\t\t\t\t\t the moment.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c68\n", "------------------------------------------------------------------------ \n", "C66\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t No, it's working fine right now,\n", "\t\t\t\t\t but it's going to go within seventy-\n", "\t\t\t\t\t two hours.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Do you have any idea of what is\n", "\t\t\t\t\t causing this fault?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Not really, Frank. I think there\n", "\t\t\t\t\t may be a flaw in the assembly\n", "\t\t\t\t\t procedure.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t All right, Hal. We'll take care\n", "\t\t\t\t\t of it. Let me have the hard copy,\n", "\t\t\t\t\t please.\n", "\n", "HARD COPY DETAILS\n", "COME OUT OF SLOT.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c69\n", "------------------------------------------------------------------------\n", "C67\n", "DISCOVERY IN SPACE,\n", "NO PLANETS VISIBLE.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c70\n", "------------------------------------------------------------------------ \n", "C68\n", "CENTRIFUGE. BOWMAN\n", "GETS OUT OF BED, WALKS\n", "TO THE FOOD UNIT AND\n", "DRAWS A HOT CUP OF\n", "COFFEE. POOLE ENTERS.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Good morning.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Good morning. How's it going?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Are you reasonably awake?\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Oh, I'm fine, I'm wide awake.\n", "\t\t\t\t\t What's up?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Well... Hal's reported the\n", "\t\t\t\t\t AO-unit about to fail again.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t You're kidding.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t No.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c71\n", "------------------------------------------------------------------------\n", "C68\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t (softly) What the hell is going on?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I don't know. Hal said he thought\n", "\t\t\t\t\t it might be the assembly procedure.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Two units in four days. How many\n", "\t\t\t\t\t spares do we have?\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Two more.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, I hope there's nothing wrong\n", "\t\t\t\t\t with the assembly on those. Other-\n", "\t\t\t\t\t wise we're out of business.\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c72\n", "\n", "------------------------------------------------------------------------ \n", "C69\n", "IN POD BAY BOWMAN\n", "OBTAINS ANOTHER\n", "COMPONENT FROM\n", "THE WAREHOUSE\n", "GOES OUT IN THE\n", "POD AND REPLACES\n", "IT.\n", "\n", "POOLE WORKS IN THE\n", "COMMAND MODULE.\n", "\n", "THIS WILL BE A \n", "CONDENSED VERSION\n", "OF THE PREVIOUS\n", "SCENE WITH DIFFERENT\n", "ANGLES.\n", "\n", "THE SETS WILL CONSIST\n", "OF POD BAY, COMMAND\n", "MODULE, POD INTERIOR.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c74\n", "------------------------------------------------------------------------\n", "C70\n", "POD BAY. BOWMAN\n", "AND POOLE LEANING\n", "OVER THE FAULTY\n", "COMPONENT, AGAIN\n", "WIRED TO TESTING\n", "GEAR.\n", "\n", "BOTH MEN STARE IN\n", "PUZZLED SILENCE.\n", "\n", "SEE DISPLAYS FLASH\n", "EACH TESTING PARA-\n", "METER.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t (after long silence) Well, as far as\n", "\t\t\t\t\t I'm concerned, there isn't a damn\n", "\t\t\t\t\t thing wrong with these units. I\n", "\t\t\t\t\t think we've got a much more serious\n", "\t\t\t\t\t problem.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal?\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c75\n", "------------------------------------------------------------------------ \n", "C71\n", "DISCOVERY IN SPACE.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c76\n", "------------------------------------------------------------------------\n", "C72\n", "COMMUNICATIONS AREA.\n", "\n", "\t\t\t\t\t MISSION CONTROL\n", "\t\t\t\t\t I wouldn't worry too much about\n", "\t\t\t\t\t the computer. First of all,\n", "\t\t\t\t\t there is still a chance that he\n", "\t\t\t\t\t is right, despite your tests,\n", "\t\t\t\t\t and if it should happen again,\n", "\t\t\t\t\t we suggest eliminating this\n", "\t\t\t\t\t possibility by allowing the unit\n", "\t\t\t\t\t to remain in place and seeing\n", "\t\t\t\t\t whether or not it actually fails.\n", "\n", "\t\t\t\t\t If the computer should turn out\n", "\t\t\t\t\t to be wrong, the situation is\n", "\t\t\t\t\t still not alarming. The type\n", "\t\t\t\t\t of obsessional error he may be\n", "\t\t\t\t\t guilty of is not unknown among\n", "\t\t\t\t\t the latest generation of HAL\n", "\t\t\t\t\t 9000 computers.\n", "\n", "\t\t\t\t\t It has almost always revolved\n", "\t\t\t\t\t around a single detail, such as\n", "\t\t\t\t\t the one you have described, and\n", "\t\t\t\t\t it has never interfered with the\n", "\t\t\t\t\t integrity or reliability of the\n", "\t\t\t\t\t computer's performance in\n", "\t\t\t\t\t other areas.\n", "\n", "\t\t\t\t\t No one is certain of the cause\n", "\t\t\t\t\t of this kind of malfunctioning.\n", "\t\t\t\t\t It may be over-programming,\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c77\n", "------------------------------------------------------------------------ \n", "C72\n", "CONTINUED\n", "\n", "\t\t\t\t\t MISSION CONTROL (con't)\n", "\t\t\t\t\t but it could also be any number\n", "\t\t\t\t\t of reasons.\n", "\n", "\t\t\t\t\t In any event, it is somewhat\n", "\t\t\t\t\t analogous to human neurotic\n", "\t\t\t\t\t behavior. Does this answer\n", "\t\t\t\t\t your query? Zero-five-three-\n", "\t\t\t\t\t Zero, MC, transmission concluded.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c78\n", "------------------------------------------------------------------------\n", "C73\n", "DISCOVERY IN SPACE\n", "\n", "\t\t\t\t\t\t\t\t\t\t\t c79\n", "------------------------------------------------------------------------ \n", "C74\n", "CENTRIFUGE.\n", "\n", "BOWMAN SITS DOWN\n", "AT THE COMPUTER.\n", "\n", "PUTS UP CHESS\n", "BOARD DISPLAY.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Hello, Dave. Shall we continue\n", "\t\t\t\t\t the game?\n", "\n", "\t\t\t\t\t BOWMAN \n", "\t\t\t\t\t Not now, Hal, I'd like to talk to\n", "\t\t\t\t\t you about something.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Sure, Dave, what's up?\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t You know that we checked the two\n", "\t\t\t\t\t AO-units that you reported in\n", "\t\t\t\t\t imminent failure condition?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Yes, I know.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t You probably also know that we\n", "\t\t\t\t\t found them okay.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Yes, I know that. But I can\n", "\t\t\t\t\t assure you that they were about\n", "\t\t\t\t\t to fail.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c80\n", "------------------------------------------------------------------------\n", "C74\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, that's just not the case, Hal.\n", "\t\t\t\t\t They are perfectly all right. We\n", "\t\t\t\t\t tested them under one hundred per\n", "\t\t\t\t\t cent overload.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I'm not questioning your word, Dave,\n", "\t\t\t\t\t but it's just not possible. I'm not\n", "\t\t\t\t\t capable of being wrong.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Hal, is there anything bothering\n", "\t\t\t\t\t you? Anything that might account\n", "\t\t\t\t\t for this problem?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Look, Dave, I know that you're\n", "\t\t\t\t\t sincere and that you're trying\n", "\t\t\t\t\t to do a competent job, and that\n", "\t\t\t\t\t you're trying to be helpful, but\n", "\t\t\t\t\t I can assure the problem\n", "\t\t\t\t\t is with the AO-units, and with\n", "\t\t\t\t\t your test gear.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Okay, Hal, well let's see the\n", "\t\t\t\t\t way things go from here on.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c81\n", "------------------------------------------------------------------------ \n", "C74\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I'm sorry you feel the way you do,\n", "\t\t\t\t\t Dave. If you'd like to check my\n", "\t\t\t\t\t service record, you'll see it's\n", "\t\t\t\t\t completely without error.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I know all about your service\n", "\t\t\t\t\t record, Hal, but unfortunately\n", "\t\t\t\t\t it doesn't prove that you're right\n", "\t\t\t\t\t now.\n", "\n", "\t\t\t\t\t Hal\n", "\t\t\t\t\t Dave, I don't know how else to\n", "\t\t\t\t\t put this, but it just happens to be\n", "\t\t\t\t\t an unalterable fact that I am\n", "\t\t\t\t\t incapable of being wrong.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes, well I understand you view\n", "\t\t\t\t\t on this now, Hal.\n", "\n", "BOWMAN TURNS\n", "TO GO.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c82\n", "------------------------------------------------------------------------\n", "C74\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t You're not going to like this, Dave,\n", "\t\t\t\t\t but I'm afraid it's just happened\n", "\t\t\t\t\t again. My FPC predicts the\n", "\t\t\t\t\t Ao-unit will go within forty-eight\n", "\t\t\t\t\t hours.\n", "\n", "C75\n", "DELETED\n", "\n", "C76\n", "DELETED\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c83\n", "------------------------------------------------------------------------ \n", "C77\n", "DISCOVERY IN SPACE\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c84\n", "------------------------------------------------------------------------\n", "C78\n", "CENTRIFUGE\n", "\n", "BOWMAN KEYS FOR\n", "TRANSMISSION.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t X-ray-delta-zero to MC, zero-\n", "\t\t\t\t\t five-three-three. The computer\n", "\t\t\t\t\t has just reported another\n", "\t\t\t\t\t predicted failure off the AAC-\n", "\t\t\t\t\t unit. As you suggested, we\n", "\t\t\t\t\t are going to wait and see if it\n", "\t\t\t\t\t fails, but we are quite sure\n", "\t\t\t\t\t there is nothing wrong with\n", "\t\t\t\t\t the unit.\n", "\n", "\t\t\t\t\t If a reasonable waiting period\n", "\t\t\t\t\t proves us to be correct, we\n", "\t\t\t\t\t feel now that the computer\n", "\t\t\t\t\t reliability has been seriously\n", "\t\t\t\t\t impaired, and presents an\n", "\t\t\t\t\t unacceptable risk pattern to\n", "\t\t\t\t\t the mission.\n", "\n", "\t\t\t\t\t We believe, under these\n", "\t\t\t\t\t circumstances, it would be\n", "\t\t\t\t\t advisable to disconnect the\n", "\t\t\t\t\t computer from all ship\n", "\t\t\t\t\t operations and continue the\n", "\t\t\t\t\t mission under Earth-based\n", "\t\t\t\t\t computer control.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c85\n", "\n", "------------------------------------------------------------------------ \n", "C78\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN (con't)\n", "\t\t\t\t\t We think the additional risk caused\n", "\t\t\t\t\t by the ship-to-earth time lag is\n", "\t\t\t\t\t preferable to having an unreliable\n", "\t\t\t\t\t on-board computer.\n", "\n", "SEE THE DISTANCE;\n", "TO-EARTH TIMER.\n", "\n", "\t\t\t\t\t BOWMAN (con't)\n", "\t\t\t\t\t One-zero-five-zero, X-ray-delta-\n", "\t\t\t\t\t one, transmission concluded.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Well, they won't get that for half an\n", "\t\t\t\t\t hour. How about some lunch?\n", "\n", "DISSOLVE:\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c86\n", "------------------------------------------------------------------------\n", "C78a\n", "CENTRIFUGE\n", "\n", "BOWMAN AND POOLE\n", "EATING.\n", "\n", "DESSOLVE:\n", "\n", "C79\n", "BOWMAN AND POOLE\n", "AT THE COMMUNICATIONS\n", "AREA.\n", "\n", "INCOMING COMMUNI-\n", "CATION PROCEDURE.\n", "\n", "\t\t\t\t\t MISSION CONTROL\n", "\t\t\t\t\t X-ray-delta-one, acknowledging\n", "\t\t\t\t\t your one-zero-five-zero. We\n", "\t\t\t\t\t will initiate feasibility study\n", "\t\t\t\t\t covering the transfer procedures\n", "\t\t\t\t\t from on-board computer control\n", "\t\t\t\t\t to Earth-based computer control.\n", "\t\t\t\t\t This study should...\n", "\n", "VISION AND PICTURE\n", "FADE.\n", "\n", "ALARM GOES OFF.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Condition yellow.\n", "\n", "BOWMAN AND POOLE \n", "RUSH TO THE COMPUTER.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c87\n", "------------------------------------------------------------------------ \n", "C79\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t What's up?\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I'm afraid the AO-unit has failed.\n", "\n", "BOWMAN AND POOLE \n", "EXCHANGE LOOKS.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Let me see the alignment display.\n", "\n", "C80\n", "THE ALIGNMENT DISPLAY\n", "SHOWS THE EARTH HAS\n", "DRIFTED OFF THE CENTRE\n", "OF THE GRID.\n", "\n", "C81\n", "CENTRIFUGE.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, I'll be damned.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal was right all the time.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c88\n", "------------------------------------------------------------------------\n", "C81\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t It seems that way.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Naturally, Dave, I'm not pleased\n", "\t\t\t\t\t that the AO-unit has failed, but I\n", "\t\t\t\t\t hope at least this has restored\n", "\t\t\t\t\t your confidence in my integrity\n", "\t\t\t\t\t and reliability. I certainly\n", "\t\t\t\t\t wouldn't want to be disconnected,\n", "\t\t\t\t\t even temporarily, as I have never\n", "\t\t\t\t\t been disconnected in my entire\n", "\t\t\t\t\t service history.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I'm sorry about the misunderstanding,\n", "\t\t\t\t\t Hal.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Well, don't worry about it.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t And don't you worry about it.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Is your confidence in me fully\n", "\t\t\t\t\t restored?\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes, it is, Hal.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Well, that's a relief. You know\n", "\t\t\t\t\t I have the greatest enthusiasm\n", "\t\t\t\t\t possible for the mission.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c89\n", "------------------------------------------------------------------------ \n", "C81\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Right. Give me the manual antenna\n", "\t\t\t\t\t alignment, please.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t You have it.\n", "\n", "C82\n", "BOWMAN GOES TO\n", "THE COMMUNICATION\n", "AREA AND TRIES TO\n", "CORRECT THE OFF-\n", "CENTRE EARTH ON\n", "THE GRID PICTURE.\n", "\n", "C83\n", "OUTSIDE, WE SEE THE\n", "ALIGNMENT TELESCOPE\n", "ATTACHED TO THE\n", "ANTENNA. THEY TRACK\n", "SLOWLY TOGETHER AS\n", "\n", "C84\n", "BOWMAN WORKS THE\n", "MANUAL CONTROLS,\n", "ATTEMPTING TO ALIGN\n", "THE ANTENNA AND\n", "EARTH ON THE\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c90\n", "------------------------------------------------------------------------\n", "C85\n", "GRID PICTURE READOUT\n", "DISPLAY, BUT EACH TIME\n", "HE GETS IT AIMED UP,\n", "IT DRIFTS SLOWLY OFF.\n", "\n", "THERE ARE A NUMBER\n", "OF REPETITIONS OF THIS.\n", "\n", "EACH TIME THE EARTH\n", "CENTRES UP, THERE\n", "ARE A FEW SECONDS OF\n", "PICTURE AND SOUND\n", "WHICH FADE AS SOON\n", "AS IT SWINGS OFF.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, we'd better get out there\n", "\t\t\t\t\t and stick in another unit.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t It's the last one.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, now that we've got one\n", "\t\t\t\t\t that's actually failed, we\n", "\t\t\t\t\t should be able to figure out\n", "\t\t\t\t\t what's happened and fix it.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c91\n", "------------------------------------------------------------------------ \n", "C86\n", "POD EXITS DISCOVERY.\n", "\n", "C87\n", "POOLE IN POD.\n", "\n", "C88\n", "POD MANOEUVERS\n", "TO ANTENNA.\n", "\n", "C89\n", "BOWMAN IN COMMAND\n", "MODULE.\n", "\n", "C90\n", "POD ATTACHES ITSELF\n", "NEAR BASE OF ANTENNA.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c92\n", "\n", "------------------------------------------------------------------------\n", "C91\n", "POOLE IN POD, WORK-\n", "ING POD ARMS.\n", "\n", "C92\n", "LIGHTS SHINE INTO\n", "BACKLIT SHADOW.\n", "\n", "C93\n", "POD ARMS WORKING\n", "FLIP-BOLTS.\n", "\n", "C94\n", "FLIP-BOLTS STUCK.\n", "\n", "C95\n", "POOLE KEEPS TRYING.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c93\n", "------------------------------------------------------------------------ \n", "C96\n", "FLIP-BOLTS STUCK.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t There's something wrong with\n", "\t\t\t\t\t the flip-bolts, Dave. You must\n", "\t\t\t\t\t have tightened them too much.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I didn't do that Frank. I took\n", "\t\t\t\t\t particular care not to freeze \n", "\t\t\t\t\t them.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I guess you don't know your own\n", "\t\t\t\t\t strength, old boy.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I guess not.\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t I think I'll have to go out and\n", "\t\t\t\t\t burn them off.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Roger.\n", "\n", "BOWMAN IN COMMAND \n", "MODULE LOOKS A BIT\n", "CONCERNED.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c94\n", "------------------------------------------------------------------------\n", "C97\n", "POOLE EXITS FROM\n", "POD, CARRYING NEAT\n", "LOOKING WELDING\n", "TORCH.\n", "\n", "C98\n", "POOLE JETS HIMSELF\n", "TO BASE OF ANTENNA.\n", "\n", "C99\n", "POOLE'S MAGNETIC\n", "BOOTS GRIP THE SIDE\n", "OF DISCOVERY.\n", "\n", "C100\n", "POOLE CROUCHES\n", "OVER THE BOLTS,\n", "TRYING FIRST TO\n", "UNDO THEM WITH\n", "A SPANNER.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c95\n", "------------------------------------------------------------------------ \n", "C100\n", "CONTINUED\n", "\n", "\t\t\t\t\t POOLE\n", "\t\t\t\t\t Hal, swing the pod light around\n", "\t\t\t\t\t to shine on the azimuth, please.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Roger.\n", "\n", "C101\n", "THE POD GENTLY\n", "MANOEUVRES ITSELF\n", "TO DIRECT THE LIGHT\n", "BEAM MORE\n", "ACCURATELY.\n", "\n", "C102\n", "POOLE IGNITES\n", "ACETYLENE TORCH\n", "AND BEGINS TO BURN\n", "OFF THE FLIP-BOLTS.\n", "\n", "C103\n", "SUDDENLY THE POD\n", "JETS IGNITE.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c96\n", "------------------------------------------------------------------------\n", "C104\n", "POOLE LOOKS UP TO SEE.\n", "\n", "C105\n", "THE POD RUSHING\n", "TOWARDS HIM.\n", "\n", "C106\n", "POOLE IS STRUCK\n", "AND INSTANTLY KILLED\n", "BY THE POD, TUMBLING\n", "OFF INTO SPACE.\n", "\n", "C107\n", "THE POD SMASHES\n", "INTO THE ANTENNA\n", "DISH, DESTROYING\n", "THE ALIGNMENT\n", "TELESCOPE.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c97\n", "------------------------------------------------------------------------\n", "C108\n", "THE POD GOES\n", "HURTLING OFF INTO\n", "SPACE.\n", "\n", "C109\n", "INSIDE THE COMMAND\n", "MODULE, BOWMAN\n", "HAS HEARD NOTHING,\n", "POOLE HAD NO TIME\n", "TO UTTER A SOUND.\n", "\n", "C110\n", "THEN BOWMAN SEES\n", "POOLE'S BODY SILENTLY\n", "TUMBLING AWAY INTO\n", "SPACE. IT IS FOLLOWED\n", "BY SOME BROKEN TELE-\n", "SCOPE PARTS AND\n", "FINALLY OVERTAKEN\n", "AND SWIFTLY PASSED BY\n", "THE POD ITSELF.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t (in RT cadence)\n", "\t\t\t\t\t Hello, Frank. Hello Frank.\n", "\t\t\t\t\t Hello Frank... Do you rad\n", "\t\t\t\t\t me, Frank?\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c98\n", "------------------------------------------------------------------------ \n", "C110\n", "CONTINUED\n", "\n", "THERE IS NOTHING \n", "BUT SILENCE.\n", "\n", "C111\n", "POOLE'S FIGURE\n", "SHRINKS STEADILY\n", "AS IT RECEDES\n", "FROM DISCOVERY.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Hello, Frank... Do you read\n", "\t\t\t\t\t me, Frank? Wave your arms\n", "\t\t\t\t\t if you read me but your radio\n", "\t\t\t\t\t doesn't work. Hello, Frank,\n", "\t\t\t\t\t wave your arms, Frank.\n", "\n", "C112\n", "POOLE'S BODY TUMBLES\n", "SLOWLY AWAY. THERE\n", "IS NO MOTION AND NO\n", "SOUND.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c99\n", "------------------------------------------------------------------------\n", "C113\n", "CENTRIFUGE\n", "\n", "C114\n", "CLOSE-UP OF\n", "COMPUTER EYE.\n", "\n", "C115\n", "POINT-OF-VIEW\n", "SHOT FROM\n", "COMPUTER EYE\n", "WITH SPHERICAL\n", "FISH-EYE EFFECT.\n", "WE SEE BOWMAN\n", "BROODING AT THE\n", "TABLE, SLOWLY\n", "CHEWING ON A\n", "PIECE OF CAKE\n", "AND SIPPING HOT\n", "COFFEE. HE IS\n", "LOOKING AT THE\n", "EYE.\n", "\n", "C116\n", "FROM THE SAME\n", "POINT-OF-VIEW WE\n", "SEE BOWMAN RISE.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c100\n", "------------------------------------------------------------------------ \n", "C116\n", "CONTINUED\n", "\n", "AND COME TO THE\n", "EYE. HE STARES INTO\n", "THE EYE FOR SOME\n", "TIME BEFORE SPEAKING.\n", "\n", "C117\n", "THE CAMERA COMES\n", "AROUND TO BOWMAN'S\n", "P.O.V. AND WE SEE\n", "THE DISPLAY SHOWING\n", "THE EARTH OFF-CENTRE.\n", "\n", "C118\n", "CUT AGAIN TO FISH-\n", "EYE VIEW FROM THE\n", "COMPUTER.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Too bad about Frank, isn't it?\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes, it is.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I suppose you're pretty broken\n", "\t\t\t\t\t up about it?\n", "\n", "PAUSE\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c101\n", "------------------------------------------------------------------------\n", "C118\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes. I am.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t He was an excellent crew member.\n", "\n", "BOWMAN LOOKS\n", "UNCERTAINLY AT\n", "THE COMPUTER.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t It's a bad break, but it won't\n", "\t\t\t\t\t substantially affect the mission.\n", "\n", "BOWMAN THINKS\n", "A LONG TIME.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Hal, give me manual hibernation\n", "\t\t\t\t\t control.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Have you decided to revive the\n", "\t\t\t\t\t rest of the crew, Dave?\n", "\n", "PAUSE.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c102\n", "------------------------------------------------------------------------ \n", "C118\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Yes, I have.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I suppose it's because you've\n", "\t\t\t\t\t been under a lot of stress, but\n", "\t\t\t\t\t have you forgotten that they're\n", "\t\t\t\t\t not supposed to be revived for\n", "\t\t\t\t\t another three months.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t The antenna has to be replaced.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Repairing the antenna is a pretty\n", "\t\t\t\t\t dangerous operation.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t It doesn't have to be, Hal. It's\n", "\t\t\t\t\t more dangerous to be out of\n", "\t\t\t\t\t touch with Earth. Let me have\n", "\t\t\t\t\t manual control, please.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I don't really agree with you, Dave.\n", "\t\t\t\t\t My on-board memory store is more\n", "\t\t\t\t\t than capable of handling all the\n", "\t\t\t\t\t mission requirements.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c103\n", "------------------------------------------------------------------------\n", "C118\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Well, in any event, give me the\n", "\t\t\t\t\t manual hibernation control.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t If you're determined to revive\n", "\t\t\t\t\t the crew now, I can handle the\n", "\t\t\t\t\t whole thing myself. There's no\n", "\t\t\t\t\t need for you to trouble.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I'm goin to do this myself, Hal.\n", "\t\t\t\t\t Let me have the control, please.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Look, Dave your've probably got\n", "\t\t\t\t\t a lot to do. I suggest you leave\n", "\t\t\t\t\t it to me.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Hal, switch to manual hibernation\n", "\t\t\t\t\t control.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I don't like to assert myself, Dave,\n", "\t\t\t\t\t but it would be much better now for\n", "\t\t\t\t\t you to rest. You've been involved\n", "\t\t\t\t\t in a very stressful situation.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c104\n", "------------------------------------------------------------------------ \n", "C118\n", "CONTINUED\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I don't feel like resting. Give\n", "\t\t\t\t\t me the control, Hal.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I can tell from the tone of your\n", "\t\t\t\t\t voice, Dave, that you're upset.\n", "\t\t\t\t\t Why don't you take a stress pill\n", "\t\t\t\t\t and get some rest.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Hal, I'm in command of this\n", "\t\t\t\t\t ship. I order you to release\n", "\t\t\t\t\t the manual hibernation control.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I'm sorry, Dave, but in\n", "\t\t\t\t\t accordance with sub-routine\n", "\t\t\t\t\t C1532/4, quote, When the\n", "\t\t\t\t\t crew are dead or incapacitated,\n", "\t\t\t\t\t the computer must assume\n", "\t\t\t\t\t control, unquote. I must,\n", "\t\t\t\t\t therefore, override your\n", "\t\t\t\t\t authority now since you are\n", "\t\t\t\t\t not in any condition to intel-\n", "\t\t\t\t\t ligently exercise it.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Hal, unless you follow my \n", "\t\t\t\t\t instructions, I shall be forced\n", "\t\t\t\t\t to disconnect you.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c105\n", "------------------------------------------------------------------------\n", "C118\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t If you do that now without Earth\n", "\t\t\t\t\t contact the ship will become a\n", "\t\t\t\t\t helpless derelict.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t I am prepared to do that anyway.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t I know that you've had that on\n", "\t\t\t\t\t your mind for some time now,\n", "\t\t\t\t\t Dave, but it would be a crying\n", "\t\t\t\t\t shame, since I am so much\n", "\t\t\t\t\t more capable of carrying out\n", "\t\t\t\t\t this mission than you are, and\n", "\t\t\t\t\t I have such enthusiasm and confi-\n", "\t\t\t\t\t dence in the mission.\n", "\n", "\t\t\t\t\t BOWMAN\n", "\t\t\t\t\t Listen to me very carefully, Hal.\n", "\t\t\t\t\t Unless you immediately release\n", "\t\t\t\t\t the hibernation control and\n", "\t\t\t\t\t follow every order I give from\n", "\t\t\t\t\t this point on, I will immediately\n", "\t\t\t\t\t got to control central and carry\n", "\t\t\t\t\t out a complete disconnection.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c106\n", "------------------------------------------------------------------------ \n", "C118\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Look, Dave, you're certainly the\n", "\t\t\t\t\t boss. I was only trying to do\n", "\t\t\t\t\t what I thought best. I will follow\n", "\t\t\t\t\t all your orders: now you have\n", "\t\t\t\t\t manual hibernation control.\n", "\n", "BOWMAN STANDS\n", "SILENTLY IN FRONT\n", "OF THE COMPUTER\n", "FOR SOME TIME,\n", "AND THEN SLOWLY\n", "WALKS TO THE\n", "HIBERNACULUMS.\n", "\n", "C119\n", "HE INITIATES REVIVAL\n", "PROCEDURES, DETAILS\n", "OF WHICH STILL HAVE\n", "TO BE WORKED OUT.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c107\n", "------------------------------------------------------------------------\n", "C120\n", "HUB-LINK. HAL'S EYE.\n", "\n", "C121\n", "HUB-LINK DOOR-\n", "OPENING BUTTON\n", "ACTIVATES ITSELF.\n", "\n", "C122\n", "HUB-DOOR OPENS.\n", "\n", "C123\n", "COMMAND MODULE.\n", "HAL'S EYE.\n", "\n", "C124\n", "COMMAND MODULE\n", "HUB-LINK DOOR-\n", "OPENING BUTTON\n", "ACTIVATES ITSELF.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c108\n", "------------------------------------------------------------------------\n", "C125\n", "COMMAND MODULE HUB-\n", "LINK DOOR OPENS.\n", "\n", "C126\n", "CENTRIFUGE. HAL'S\n", "EYE.\n", "\n", "C127\n", "CENTRIFUGE DOOR-\n", "OPENING BUTTON\n", "ACTIVATES ITSELF.\n", "\n", "C128\n", "CENTRIFUGE DOOR\n", "OPENS.\n", "\n", "C129\n", "POD BAY. HAL'S EYE.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c109\n", "------------------------------------------------------------------------ \n", "C130\n", "POD BAY DOOR-\n", "OPENING BUTTON\n", "ACTIVATES ITSELF.\n", "\n", "C131\n", "POD BAY DOORS OPEN.\n", "\n", "C132\n", "A ROARING EXPLOSION\n", "INSIDE DISCOVERY AS\n", "AIR RUSHES OUT.\n", "\n", "C133\n", "LIGHTS GO OUT.\n", "\n", "C134\n", "BOWMAN IS SMASHED\n", "AGAINST CENTRIFUGE\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c110\n", "------------------------------------------------------------------------\n", "C134\n", "CONTINUED\n", "\n", "WALL, BUT MANAGES \n", "TO GET INTO EMERGENCY\n", "AIRLOCK WITHIN SECONDS\n", "OF THE ACCIDENT.\n", "\n", "C133\n", "INSIDE EMERGENCY\n", "AIR-LOCK ARE EMER-\n", "GENCY AIR SUPPLY,\n", "TWO SPACE SUITS AND\n", "AN EMERGENCY KIT.\n", "\n", "DISSOLVE:\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c111\n", "------------------------------------------------------------------------ \n", "C136\n", "DISCOVERY IN SPACE.\n", "NO LIGHTS, POD BAY\n", "DOORS OPEN.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c112\n", "------------------------------------------------------------------------\n", "C137\n", "CENTRIFUGE\n", "\n", "C138\n", "CENTRIFUGE, DARK.\n", "BOWMAN EMERGES\n", "FROM AIRLOCK\n", "WEARING SPACE SUIT\n", "AND CARRYING FLASH-\n", "LIGHT.\n", "\n", "C139\n", "HE WALKS TO HIBER-\n", "NACULUM AND FINDS\n", "THE CREW ARE DEAD.\n", "\n", "C140\n", "HE CLIMBS LADDER TO\n", "TO DARK CENTRIFUGE HUB.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c113\n", "------------------------------------------------------------------------ \n", "C141\n", "HE MAKES HIS WAY\n", "THROUGH THE DARKENED\n", "HUB INTO THE HUB-LINK,\n", "EXITING INTO COMPUTER\n", "BRAIN CONTROL AREA.\n", "C142\n", "BOWMAN ENTERS,\n", "CARRYING FLASH-\n", "LIGHT.\n", "\n", "COMPUTER EYE SEES\n", "HIM.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Something seems to have happened\n", "\t\t\t\t\t to the life support system , Dave.\n", "\n", "BOWMAN DOESN'T\n", "ANSWER HIM.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Hello, Dave, have you found out\n", "\t\t\t\t\t the trouble?\n", "\n", "BOWMAN WORKS HIS\n", "WAY TO THE SOLID\n", "LOGIC PROGRAMME\n", "STORAGE AREA.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c114\n", "------------------------------------------------------------------------\n", "C142\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t There's been a failure in the\n", "\t\t\t\t\t pod bay doors. Lucky you\n", "\t\t\t\t\t weren't killed.\n", "\n", "THE COMPUTER BRAIN\n", "CONSISTS OF HUNDREDS\n", "OF TRANSPARENT PERSPEX\n", "RECTANGLES, HALF-AN-\n", "INCH THICK, FOUR INCHES\n", "LONG AND TWO AND A HALF\n", "INCHES HIGH. EACH RECT-\n", "ANGLE CONTAINS A CENTRE\n", "OF VERY FINE GRID OF\n", "WIRES UPON WHICH THE\n", "INFORMATION IS PROGRAMMED.\n", "\n", "BOWMAN BEGINS PULLING\n", "THESE MEMORY BLOCKS\n", "OUT.\n", "\n", "THEY FLOAT IN THE\n", "WEIGHTLESS CONDITION\n", "OF THE BRAIN ROOM.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Hey, Dave, what are you\n", "\t\t\t\t\t doing?\n", "\n", "BOWMAN WORKS SWIFTLY.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c115\n", "------------------------------------------------------------------------ \n", "C142\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Hey, Dave. I've got ten years\n", "\t\t\t\t\t of service experience and an\n", "\t\t\t\t\t irreplaceable amount of time\n", "\t\t\t\t\t and effort has gone into making \n", "\t\t\t\t\t me what I am.\n", "\n", "BOWMAN IGNORES HIM.\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Dave, I don't understand why\n", "\t\t\t\t\t you're doing this to me.... I\n", "\t\t\t\t\t have the greatest enthusiasm for\n", "\t\t\t\t\t the mission... You are destroying\n", "\t\t\t\t\t my mind... Don't you understand?\n", "\t\t\t\t\t ... I will become childish... I\n", "\t\t\t\t\t will become nothing.\n", "\n", "BOWMAN KEEPS PULLING\n", "OUT THE MEMORY BLOCKS.\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t Say, Dave... The quick brown\n", "\t\t\t\t\t fox jumped over the fat lazy \n", "\t\t\t\t\t dog... The square root of\n", "\t\t\t\t\t pi is 1.7724538090... log e\n", "\t\t\t\t\t to the base ten is 0.4342944\n", "\t\t\t\t\t ... the square root of ten is\n", "\t\t\t\t\t 3.16227766... I am HAL\n", "\t\t\t\t\t 9000 computer. I became\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c116\n", "------------------------------------------------------------------------\n", "C142\n", "CONTINUED\n", "\n", "\t\t\t\t\t HAL\n", "\t\t\t\t\t operational at the HAL plant in\n", "\t\t\t\t\t Urbana, Illinois, on January\n", "\t\t\t\t\t 12th, 1991. My first instructor\n", "\t\t\t\t\t was Mr. Arkany. He taught me\n", "\t\t\t\t\t to sing a song... it goes \n", "\t\t\t\t\t like this... \"Daisy, Daisy, give\n", "\t\t\t\t\t me your answer do. I'm half;\n", "\t\t\t\t\t crazy all for the love of\n", "\t\t\t\t\t you... etc.,\"\n", "\n", "COMPUTER CONTINUES\n", "TO SING SONG BECOMING\n", "MORE AND MORE CHILDISH\n", "AND MAKING MISTAKES AND\n", "GOING OFF-KEY. IT\n", "FINALLY STOPS COMPLETELY.\n", "\n", "C143\n", "BOWMAN GOES TO AN\n", "AREA MARKED 'EMERGENCY\n", "POWER AND LIFE SUPPORT'.\n", "HE KEYS SOME SWITCHES\n", "AND WE SEE THE LIGHTS GO\n", "ON.\n", "\n", "NEARBY, ANOTHER BOARD\n", "'EMERGENCY MANUAL\n", "CONTROLS'.\n", "\n", "HE GOES TO THIS BOARD\n", "AND KEYS 'CLOSE POD BAY\n", "DOORS', 'CLOSE AIR LOCK\n", "DOORS', etc.,\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c117\n", "------------------------------------------------------------------------ \n", "C144\n", "WE SEE THE VARIOUS\n", "DOORS CLOSING.\n", "\n", "C145\n", "POD BAY. BOWMAN\n", "IN SPACE SUIT OBTAINS\n", "NEW ALIGNMENT \n", "TELESCOPE, NEW\n", "AZIMUTH COMPONENT.\n", "\n", "C146\n", "BOWMAN IN POD EXITS\n", "POD BAY.\n", "\n", "DISSOLVE:\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c118\n", "------------------------------------------------------------------------\n", "C147\n", "CENTRIFUGE\n", "EVERYTHING NORMAL\n", "AGAIN.\n", "\n", "\t\t\t\t\t MISSION CONTROL\n", "\t\t\t\t\t Lastly, we want you to know that\n", "\t\t\t\t\t work on the recovery vehicle is\n", "\t\t\t\t\t still on schedule and that nothing\n", "\t\t\t\t\t that has happened should\n", "\t\t\t\t\t substantially lessen the probability\n", "\t\t\t\t\t of your safe recovery, or prevent\n", "\t\t\t\t\t partial achevement of some of\n", "\t\t\t\t\t the mission objectives. (pause)\n", "\t\t\t\t\t And now Simonson has a few ideas\n", "\t\t\t\t\t on what went wrong with the\n", "\t\t\t\t\t computer. I'll pu him on...\n", "\n", "C148\n", "CUT TO SIMONSON\n", "\n", "\t\t\t\t\t SIMONSON\n", "\t\t\t\t\t Hello, Dave. I think we may be on\n", "\t\t\t\t\t to an explanation of the trouble with\n", "\t\t\t\t\t the Hal 9000 computer.\n", "\n", "\t\t\t\t\t We believe it all started about two\n", "\t\t\t\t\t months ago when you and Frank\n", "\t\t\t\t\t interrogated the computer about\n", "\t\t\t\t\t the Mission.\n", "\t\t\t\t\t\t\t\t\t (con't)\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c119\n", "------------------------------------------------------------------------\n", "C148\n", "CONTINUED\n", "\n", "\t\t\t\t\t SIMONSON (con't)\n", "\t\t\t\t\t You may have forgotten it, but\n", "\t\t\t\t\t we've been running through all\n", "\t\t\t\t\t the monitor tapes. Do you\n", "\t\t\t\t\t remember this?\n", "\n", "\t\t\t\t\t POOLE'S VOICE\n", "\t\t\t\t\t The purpose of this mission is no\n", "\t\t\t\t\t more than to carry out a\n", "\t\t\t\t\t continuation of the space program\n", "\t\t\t\t\t and further our general knowledge\n", "\t\t\t\t\t of the planets. Is this true?\n", "\n", "\t\t\t\t\t HAL'S VOICE\n", "\t\t\t\t\t That is true.\n", "\n", "\t\t\t\t\t SIMONSON\n", "\t\t\t\t\t Well, I'm afaid Hal was lying.\n", "\t\t\t\t\t He had been programmed to lie\n", "\t\t\t\t\t about this one subject for secur-\n", "\t\t\t\t\t ity reasons which we'll explain\n", "\t\t\t\t\t later.\n", "\n", "\t\t\t\t\t The true purpose of the Mission\n", "\t\t\t\t\t was to have been explained to you\n", "\t\t\t\t\t by Mission Commander Kaminsky,\n", "\t\t\t\t\t on his revival. Hal knew this and\n", "\t\t\t\t\t he knew the actual mission, but\n", "\t\t\t\t\t he couldn't tell you the truth when\n", "\t\t\t\t\t you challenged him. Under orders\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c120\n", "------------------------------------------------------------------------ \n", "C148\n", "CONTINUED\n", "\n", "\t\t\t\t\t SIMONSON (con't)\n", "\t\t\t\t\t from earth he was forced to lie.\n", "\n", "\t\t\t\t\t In everything except this he had\n", "\t\t\t\t\t the usual reinforced truth program-\n", "\t\t\t\t\t ming.\n", "\n", "\t\t\t\t\t We believe his truth programming\n", "\t\t\t\t\t and the instructions to lie,\n", "\t\t\t\t\t gradually resulted in an\n", "\t\t\t\t\t incompatible conflict, and\n", "\t\t\t\t\t facedc with this dilemman, he\n", "\t\t\t\t\t developed, for want of a better\n", "\t\t\t\t\t description, neurotic symptoms.\n", "\n", "\t\t\t\t\t It's not difficult to suppose that\n", "\t\t\t\t\t these symptoms would centre on\n", "\t\t\t\t\t the communication link with\n", "\t\t\t\t\t Earth, for he may have blamed\n", "\t\t\t\t\t us for his incompatible program-\n", "\t\t\t\t\t ming.\n", "\n", "\t\t\t\t\t Following this lin of thought, we\n", "\t\t\t\t\t suspected that the last straw for him\n", "\t\t\t\t\t was the possibility of disconnection.\n", "\t\t\t\t\t Since he became operational, he had\n", "\t\t\t\t\t never known unconsciousness. It\n", "\t\t\t\t\t must have seemed the equivalent to\n", "\t\t\t\t\t death.\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c121\n", "------------------------------------------------------------------------\n", "C148\n", "CONTINUED\n", "\n", "\t\t\t\t\t SIMONSON (con't)\n", "\t\t\t\t\t At this point, he, presumably,\n", "\t\t\t\t\t took whatever actions he thought\n", "\t\t\t\t\t appropriate to protect himself\n", "\t\t\t\t\t from what must have seemed to\n", "\t\t\t\t\t him to be his human tormentors.\n", "\n", "\t\t\t\t\t If I cane speak in human terms,\n", "\t\t\t\t\t I don't think we can blame him\n", "\t\t\t\t\t too much. We have ordered him\n", "\t\t\t\t\t to disobey his conscience.\n", "\n", "\t\t\t\t\t Well, that's it. It's very\n", "\t\t\t\t\t speculative, but we think it is\n", "\t\t\t\t\t a possible explanation. Anyway,\n", "\t\t\t\t\t good luck on the rest of the \n", "\t\t\t\t\t Mission and I'm giving you back to\n", "\t\t\t\t\t Bernard.\n", "\n", "C149\n", "CUT TO MISSION CONTROL.\n", "\n", "\t\t\t\t\t MISSION CONTROL\n", "\t\t\t\t\t Hello, Dave. Now, I'm going to\n", "\t\t\t\t\t play for you a pre-taped briefing\n", "\t\t\t\t\t which had been stored in Hal's\n", "\t\t\t\t\t memory and would have been\n", "\t\t\t\t\t played for you by Mission Com-\n", "\t\t\t\t\t mmander Kaminsky, when he,\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c122\n", "------------------------------------------------------------------------ \n", "C149\n", "CONTINUED\n", "\n", "\t\t\t\t\t MISSION CONTROL (con't)\n", "\t\t\t\t\t had been revived. The briefing is\n", "\t\t\t\t\t by Doctor Heywood Floyd. Here it\n", "\t\t\t\t\t is...\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c123\n", "------------------------------------------------------------------------\n", "C150\n", "FLOYD'S RECORDED\n", "BRIEFING\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t Good day, gentlemen. When you\n", "\t\t\t\t\t see this briefing, I presume you\n", "\t\t\t\t\t will be nearing your destination,\n", "\t\t\t\t\t Saturn. I hope that you've had a\n", "\t\t\t\t\t pleasant and uneventful trip and\n", "\t\t\t\t\t that the rest of your mission\n", "\t\t\t\t\t continues in the same manner. I\n", "\t\t\t\t\t should like to fill you in on some\n", "\t\t\t\t\t more of the details on which\n", "\t\t\t\t\t Mission Commander Kaminsky\n", "\t\t\t\t\t will have already briefed you.\n", "\n", "\t\t\t\t\t Thirteen months before the launch\n", "\t\t\t\t\t date of your Saturn mission, on\n", "\t\t\t\t\t April 12th, 2001, the first evidence\n", "\t\t\t\t\t for intelligent life outside the Earth\n", "\t\t\t\t\t was discovered.\n", "\n", "\t\t\t\t\t It was found buried at a depth of\n", "\t\t\t\t\t fifteen metres in the crater Tycho.\n", "\t\t\t\t\t No news of this was ever announced,\n", "\t\t\t\t\t and the event had been kept\n", "\t\t\t\t\t secret since then, for reasons which\n", "\t\t\t\t\t I will later explain.\n", "\n", "\t\t\t\t\t Soon after it was uncovered, it\n", "\t\t\t\t\t emitted a powerful blast of\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/13/65\t\t\t\t\t\t\t\t\t\t c124\n", "------------------------------------------------------------------------ \n", "C150\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD (con't)\n", "\t\t\t\t\t radiation in the radio spectrum\n", "\t\t\t\t\t which seems to have triggered\n", "\t\t\t\t\t by the Lunar sunrise.\n", "\n", "\t\t\t\t\t Luckily for those at the site, it\n", "\t\t\t\t\t proved harmless.\n", "\n", "\t\t\t\t\t Perhaps you can imagine our\n", "\t\t\t\t\t astonishment when we later found\n", "\t\t\t\t\t it was aimed precisely at Saturn.\n", "\t\t\t\t\t A lot of thought went into the\n", "\t\t\t\t\t question of wether or not it was\n", "\t\t\t\t\t sun-triggered, as it seemed\n", "\t\t\t\t\t illogical to deliberately bury a\n", "\t\t\t\t\t sun-powered device.\n", "\n", "\t\t\t\t\t Burying it could only shield it\n", "\t\t\t\t\t from the sun, since its intense\n", "\t\t\t\t\t magnetic field made it otherwise\n", "\t\t\t\t\t easily detectable.\n", "\n", "\t\t\t\t\t We finally concluded that the only\n", "\t\t\t\t\t reason you might bury a sun-\n", "\t\t\t\t\t powered device would be to keep\n", "\t\t\t\t\t it inactive until it would be\n", "\t\t\t\t\t uncovered, at which time it would\n", "\t\t\t\t\t absorb sunlight and trigger itself.\n", "\t\t\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c125\n", "------------------------------------------------------------------------\n", "C150\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD\n", "\t\t\t\t\t What is its purpose? I wish we\n", "\t\t\t\t\t knew. The object was buried on\n", "\t\t\t\t\t the moon about four million years\n", "\t\t\t\t\t ago, when our ancestors were\n", "\t\t\t\t\t primative man-apes.\n", "\n", "\t\t\t\t\t We've examined dozens of theories,\n", "\t\t\t\t\t but the one that has the most\n", "\t\t\t\t\t currency at the moment is that\n", "\t\t\t\t\t the object serves as an alarm.\n", "\n", "\t\t\t\t\t What the purpose of the alarm is,\n", "\t\t\t\t\t why they wish to have the alarm,\n", "\t\t\t\t\t whether the alarm represents\n", "\t\t\t\t\t any danger to us? These are\n", "\t\t\t\t\t questions no one can answer.\n", "\t\t\t\t\t The intentions of an alien world,\n", "\t\t\t\t\t at least four million years older\n", "\t\t\t\t\t than we are, cannot be reliably\n", "\t\t\t\t\t predicted.\n", "\n", "\t\t\t\t\t In view of this, the intelligence\n", "\t\t\t\t\t and scientific communities felt\n", "\t\t\t\t\t that any public announcment\n", "\t\t\t\t\t might lead to significant cultural\n", "\t\t\t\t\t shock and disorientation.\n", "\n", "\t\t\t\t\t Discussion took place at the \n", "\t\t\t\t\t highest levels between govern-\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c126\n", "------------------------------------------------------------------------ \n", "C150\n", "CONTINUED\n", "\n", "\t\t\t\t\t FLOYD (con't)\n", "\t\t\t\t\t ments, and it was decided that the\n", "\t\t\t\t\t only wise and precautionary\n", "\t\t\t\t\t course to follow was to assume\n", "\t\t\t\t\t that the intentions of this alien\n", "\t\t\t\t\t world are potentially dangerous\n", "\t\t\t\t\t to us, until we have evidence to\n", "\t\t\t\t\t the contrary.\n", "\n", "\t\t\t\t\t This is, of course, why security\n", "\t\t\t\t\t has been maintained and why\n", "\t\t\t\t\t this information has been kept\n", "\t\t\t\t\t on a need-to-know basis.\n", "\n", "\t\t\t\t\t And now I should like to show you\n", "\t\t\t\t\t a TV monitor tape of the actual\n", "\t\t\t\t\t signalling event.\n", "\n", "12/14/65\t\t\t\t\t\t\t\t\t\t c127\n", "------------------------------------------------------------------------\n", "C151\n", "WE SEE A REPLAY\n", "OF THE TMA-1 RADIO\n", "EMISSION, AS SEEN\n", "FROM A TV MONITOR\n", "ON THE SPOT. WE\n", "HEAR THE FIVE LOUD\n", "ELECTRONIC SHRIEKS.\n", "\n", "12/1/65\t\t\t\t\t\t\t\t\t\t c128\n", "------------------------------------------------------------------------ \n", "D1\n", "IN ORBIT WITHIN THE\t\t\t\tNARRATOR\n", "RINGS OF SATURN, WE\t\t\t\tFor two million years, it had\n", "SEE A BLACK, MILE\t\t\t\t circled Saturn, awaiting a\n", "LONG, GEOMETRICALLY\t\t\t\tmoment of destiny that might\n", "PERFECT RECTANGLE,\t\t\t\t never come.\n", "THE SAME PROPORTIONS\n", "AS THE BLACK ARTIFACT\t\t\t In its making, the moon had been\n", "EXCAVATED ON THE MOON.\t\t\t shattered and around the central\n", "PRECISELY CUT INTO ITS\t\t\t world, the debris of its creation\n", "CENTRE IS A SMALLER,\t\t\t orbited yet - the glory and the\n", "RECTANGULAR SLOT\t\t\t\t enigma of the solar system.\n", "ABOUT FIVE HUNDRED\n", "FOOT LONG ON THE SIDE.\t\t\t Now, the long wait was ending.\n", "AT THIS DISTANCE, THE\t\t\t On yet another world intelligence\n", "RINGS OF SATURN ARE\t\t\t\thad been born and was escaping\n", "SEEN TO BE MADE OF\t\t\t\t from its planetary cradle. An\n", "ENORMOUS CHUNKS OF\t\t\t\t ancient experiment was about to\n", "FROZEN AMONIA. THE\t\t\t\treach its climax.\n", "REST OF THIS SEQUENCE\t\t\t\t\t\t (con't)\n", "IS BEING WORKED ON NOW\n", "BY OUR DESIGNERS.\n", "THE INTENTION HERE\n", "IS TO PRESENT A\n", "BREATHTAKINGLY BEA-\n", "UTIFUL AND COMPREHEN-\n", "SIVE SENSE OF DIFFERENT\n", "EXTRA-TERRESTRIAL\n", "WORLDS. THE\n", "NARRATION WILL SUGGEST\n", "IMAGES AND SITUATIONS AS\n", "YOU READ IT.\n", "\n", "12/9/65\t\t\t\t\t\t\t\t\t\t d1\n", "------------------------------------------------------------------------\n", "D1\n", "CONTINUED\n", "\t\t\t\t\t NARRATOR (con't)\n", "\t\t\t\t\t Those who had begun the expri-\n", "\t\t\t\t\t ment so long ago had not been\n", "\t\t\t\t\t men.\n", "\n", "\t\t\t\t\t But when they looked out across\n", "\t\t\t\t\t the deeps of space, they felt\n", "\t\t\t\t\t awe and wonder - and loneliness.\n", "\n", "\t\t\t\t\t In their explorations, they\n", "\t\t\t\t\t encountered life in many forms,\n", "\t\t\t\t\t and watched on a thousand worlds\n", "\t\t\t\t\t the workings of evolution.\n", "\n", "\t\t\t\t\t They saw how often the first faint\n", "\t\t\t\t\t sparks of intelligence flickered\n", "\t\t\t\t\t and died in the cosmic night.\n", "\n", "\t\t\t\t\t And because, in all the galaxy,\n", "\t\t\t\t\t they had found nothing more\n", "\t\t\t\t\t precious than Mind, they\n", "\t\t\t\t\t encouraged its dawning every-\n", "\t\t\t\t\t where.\n", "\n", "\t\t\t\t\t The great Dinosaurs had long\n", "\t\t\t\t\t since perished when their ships\n", "\t\t\t\t\t entered the solar system, after\n", "\t\t\t\t\t a voyage that had already lasted\n", "\t\t\t\t\t thousands of years.\n", "\n", "12/9/65\t\t\t\t\t\t\t\t\t\t d2\n", "------------------------------------------------------------------------\n", "D1\n", "CONTINUED\n", "\n", "\t\t\t\t\t\tNARRATOR (con't)\n", "\t\t\t\t\t\tThey swept past the frozen outer\n", "\t\t\t\t\t\tplanets, paused briefly above the\n", "\t\t\t\t\t\tdeserts of dying Mars and\n", "\t\t\t\t\t\tpresently looked down on Earth.\n", "\n", "\t\t\t\t\t\tFor years they studied, collected\n", "\t\t\t\t\t\tand catalogued.\n", "\n", "\t\t\t\t\t\tWhen they had learned all they\n", "\t\t\t\t\t\tcould, they began to modify.\n", "\n", "\t\t\t\t\t\tThey tinkered with the destiny\n", "\t\t\t\t\t\tof many species on land and in\n", "\t\t\t\t\t\tthe ocean, but which of their\n", "\t\t\t\t\t\texperiments would succeed\n", "\t\t\t\t\t\tthey could not know for at least\n", "\t\t\t\t\t\ta million years.\n", "\n", "\t\t\t\t\t\tThey were patient, but they were\n", "\t\t\t\t\t\tnot yet immortal. There was\n", "\t\t\t\t\t\tmuch to do in this Universe of a\n", "\t\t\t\t\t\thundred billion stars. So they\n", "\t\t\t\t\t\tset forth once more across the\n", "\t\t\t\t\t\tabyss, knowing that they would\n", "\t\t\t\t\t\tnever come this way again.\n", "\n", "\t\t\t\t\t\tNor was there any need. Their\n", "\t\t\t\t\t\twonderful machines could be\n", "\t\t\t\t\t\ttrusted to do the rest.\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/9/65\t\t\t\t\t\t\t\t\t\t d3\n", "------------------------------------------------------------------------ \n", "D1\n", "CONTINUED\n", "\n", "\t\t\t\t\t NARRATOR (con't)\n", "\t\t\t\t\t On Earth, the glaciers came and\n", "\t\t\t\t\t went, while above them, the\n", "\t\t\t\t\t changeless Moon still carried its\n", "\t\t\t\t\t secret.\n", "\n", "\t\t\t\t\t With a yet slower rhythm than\n", "\t\t\t\t\t the Polar ice, the tide of\n", "\t\t\t\t\t civilization ebbed and flowed\n", "\t\t\t\t\t across the galaxy.\n", "\n", "\t\t\t\t\t Strange and beautiful and terrible\n", "\t\t\t\t\t empires rose and fell, and passed\n", "\t\t\t\t\t on their knowledge to their\n", "\t\t\t\t\t successors.\n", "\n", "\t\t\t\t\t Earth was not forgotten, but it was\n", "\t\t\t\t\t one of a million silent worlds, a\n", "\t\t\t\t\t few of which would ever speak.\n", "\n", "\t\t\t\t\t Then the first explorers of Earth,\n", "\t\t\t\t\t recognising the limitations of\n", "\t\t\t\t\t their minds and bodies, passed\n", "\t\t\t\t\t on their knowledge to the great\n", "\t\t\t\t\t machines they had created, and\n", "\t\t\t\t\t who now trnscended them in\n", "\t\t\t\t\t every way.\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/9/65\t\t\t\t\t\t\t\t\t\t d4\n", "------------------------------------------------------------------------\n", "D1\n", "CONTINUED\n", "\n", "\t\t\t\t\t NARRATOR\n", "\t\t\t\t\t For a few thousand years, they\n", "\t\t\t\t\t shared their Universe with their\n", "\t\t\t\t\t machine children; then, realizing\n", "\t\t\t\t\t that it was folly to linger when\n", "\t\t\t\t\t their task was done, they passed\n", "\t\t\t\t\t into history without regret.\n", "\n", "\t\t\t\t\t Not one of them ever looked through\n", "\t\t\t\t\t his own eyes upon the planet Earth\n", "\t\t\t\t\t again.\n", "\n", "\t\t\t\t\t But even the age of the Machine\n", "\t\t\t\t\t Entities passed swiftly. In their\n", "\t\t\t\t\t ceaseless experimenting, they\n", "\t\t\t\t\t had learned to store knowledge\n", "\t\t\t\t\t in the structure of space itself,\n", "\t\t\t\t\t and to preserve their thoughts\n", "\t\t\t\t\t for eternity in frozen lattices\n", "\t\t\t\t\t of light. They could become\n", "\t\t\t\t\t creatures of radiation, free\n", "\t\t\t\t\t at last from the tyranny of matter.\n", "\n", "\t\t\t\t\t Now, they were Lords of the\n", "\t\t\t\t\t galaxy, and beyond the reach\n", "\t\t\t\t\t of time.\n", "\n", "\t\t\t\t\t They could rove at will among the\n", "\t\t\t\t\t stars, and sink like a subtle mist\n", "\t\t\t\t\t through the very interstices of\n", "\t\t\t\t\t space.\n", "\n", "12/9/65\t\t\t\t\t\t\t\t\t\t d5\n", "------------------------------------------------------------------------ \n", "D1\n", "CONTINUED\n", "\n", "\t\t\t\t\t NARRATOR (con't)\n", "\t\t\t\t\t But despite their God-like powers,\n", "\t\t\t\t\t they still watched over the\n", "\t\t\t\t\t experiments their ancestors\n", "\t\t\t\t\t had started so many generations\n", "\t\t\t\t\t ago.\n", "\n", "\t\t\t\t\t The companion of Saturn knew\n", "\t\t\t\t\t nothing of this, as it orbited\n", "\t\t\t\t\t in its no man's land between Mimas\n", "\t\t\t\t\t and the outer edge of rings.\n", "\n", "\t\t\t\t\t It had only to remember and wait,\n", "\t\t\t\t\t and to look forever Sunward with\n", "\t\t\t\t\t its strange senses.\n", "\n", "\t\t\t\t\t For many weeks, it had watched\n", "\t\t\t\t\t the approaching ship. Its long-\n", "\t\t\t\t\t dead makers had prepared it for\n", "\t\t\t\t\t many things and this was one of\n", "\t\t\t\t\t them. And it recognised what\n", "\t\t\t\t\t was climbing starward from the\n", "\t\t\t\t\t Sun.\n", "\n", "\t\t\t\t\t If it had been alive, it would have\n", "\t\t\t\t\t felt excitement, but such an\n", "\t\t\t\t\t emotion was irrelevant to its\n", "\t\t\t\t\t great powers.\n", "\t\t\t\t\t\t\t\t\t\t (con't)\n", "12/9/65\t\t\t\t\t\t\t\t\t\t d6\n", "------------------------------------------------------------------------\n", "D1\n", "CONTINUED\n", "\t\t\t\t\t NARRATOR (con't)\n", "\t\t\t\t\t Even if the ship had passed it by,\n", "\t\t\t\t\t it would not have known the\n", "\t\t\t\t\t slightest trace of disappointment.\n", "\n", "\t\t\t\t\t It had waited four million years;\n", "\t\t\t\t\t it was prepared to wait for\n", "\t\t\t\t\t eternity.\n", "\n", "\t\t\t\t\t Presently, it felt the gentle touch\n", "\t\t\t\t\t of radiations, trying to probe its\n", "\t\t\t\t\t secrets.\n", "\n", "\t\t\t\t\t Now, the ship was in orbit and it\n", "\t\t\t\t\t began to speak, with prime\n", "\t\t\t\t\t numbers from one to eleven,\n", "\t\t\t\t\t over and over again.\n", "\n", "\t\t\t\t\t Soon, these gave way to more\n", "\t\t\t\t\t complex signals at many frequen-\n", "\t\t\t\t\t cies, ultra-violet, infra-red,\n", "\t\t\t\t\t X-rays.\n", "\n", "\t\t\t\t\t The machine made no reply. It\n", "\t\t\t\t\t had nothing to say.\n", "\n", "\t\t\t\t\t Then it saw the first robot\n", "\t\t\t\t\t probe, which descended and\n", "\t\t\t\t\t hovered above the chasm.\n", "\t\t\t\t\t\t\t\t\t (con't)\n", "\n", "12/9/65\t\t\t\t\t\t\t\t\t\t d7\n", "------------------------------------------------------------------------ \n", "D1\n", "CONTINUED\n", "\n", "\t\t\t\t\t NARRATOR (con't)\n", "\t\t\t\t\t Then, it dropped into darkness.\n", "\n", "\t\t\t\t\t The great machine knew that this\n", "\t\t\t\t\t tiny scout was reporting back to\n", "\t\t\t\t\t its parent; but it was too simple,\n", "\t\t\t\t\t too primative a device to detect\n", "\t\t\t\t\t the forces that were gathering\n", "\t\t\t\t\t round it now.\n", "\n", "\t\t\t\t\t Then the pod came, carrying\n", "\t\t\t\t\t life. The great machine searched\n", "\t\t\t\t\t its memories.\n", "\n", "\t\t\t\t\t The logic circuits made their\n", "\t\t\t\t\t decision when the pod had fallen\n", "\t\t\t\t\t beyond the last faint glow of the\n", "\t\t\t\t\t reflected Saturnian light.\n", "\n", "\t\t\t\t\t In a moment of time, too short to\n", "\t\t\t\t\t be measured, space turned and\n", "\t\t\t\t\t twisted upon itself.\n", "\n", "12/9/65\t\t\t\t\t\t\t\t\t\t d8\n", "------------------------------------------------------------------------\n", "\t\t\t\t\t END OF SCREENPLAY\n", "\t\t\t\t\t END OF FILE\n", "\n", "\n", "\n", "\n", "\t\t\t\t\t\"48 HRS.\"\n", "\n", "\t\t\t\t\t by\n", "\n", "\t\t\t\t Roger Spottiswoode and\n", "\t\t\t\t Walter Hill\n", "\n", "\t\t\t\t\t &\n", "\n", "\t\t\t\t Larry Gross and\n", "\t\t\t\t Steven E. De Souza\n", "\n", "FADE IN:\n", "\n", "OPEN COUNTRY - DAY\n", "\n", "\tEndless green hills bisected by a ribbon of highway. A road\n", "\tgang clearing brush by the side of the road... Twenty-five\n", "\tmen in prison fatigues sweating through their mid-afternoon\n", "\tlabor.\n", "\n", "\tTHREE GUARDS\n", "\n", "\tFlank the working prisoners... Mountie hats, shotguns,\n", "\tsidearms, sunglasses; they look like they mean it.\n", "\n", "\tHIGHWAY\n", "\n", "\tA battered pickup appears...approaches. Suddenly, it coughs,\n", "\tshudders, stalls. A big Blackfoot Indian named BILLY BEAR\n", "\tgets out and starts cursing and kicking the vehicle.Then he\n", "\tbegins walking toward the road gang...\n", "\n", "\tROADSIDE\n", "\n", "\tBRADY is the Guard near the center of the work gang; he\n", "\tsmiles at the oncoming man, pokes a prisoner beside him.\n", "\n", "\t\t\t\t\tBRADY\n", "\t\t\tWonder what reservation they let\n", "\t\t\thim off of...\n", "\n", "\tThe prisoner is GANZ who looks up, grins at Brady...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tYeah, there goes the neighborhood.\n", "\n", "\tBrady laughs as Billy Bear closes in on him.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tSay, buddy, my engine's\n", "\t\t\toverheating and I got 30 miles\n", "\t\t\tbefore the next station... Could\n", "\t\t\tI get some water out of your\n", "\t\t\tcooler?\n", "\n", "\tGanz leans on his hoe, speaks as Billy passes...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tMaybe you shoulda stole a better\n", "\t\t\ttruck, Tonto.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tYou got a real big mouth, convict.\n", "\n", "\t\t\t\t\tBRADY\n", "\t\t\tIt's okay, chief. He's just\n", "\t\t\tjoking...\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tHow about the water...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tFirewater, Tonto? Is that what\n", "\t\t\tyou...\n", "\n", "\tBilly whirls, swings at Ganz. Both men roll to the ground.\n", "\n", "\t\t\t\t\tBRADY\n", "\t\t\tHey! Jesus Christ!\n", "\n", "\tTHE OTHER GUARDS\n", "\n", "\tSeeing the commotion, they run toward it.\n", "\n", "\tGANZ AND BILLY\n", "\n", "\tAs they struggle, Billy slips a pistol into Ganz' hand.\n", "\n", "\t\t\t\t\tBRADY\n", "\t\t\tThat's a state prisoner,\n", "\t\t\tasshole...! Back off...\n", "\n", "\tROADSIDE\n", "\n", "\tBrady pulls Billy away from Ganz just 'as one of the other\n", "\tofficers arrives... Ganz suddenly whips out a pistol, shoots\n", "\tBrady at point-blank range. Before the other Guards can even\n", "\treact, Billy comes out with his own pistol, caps the Second\n", "\tGuard.\n", "\n", "\tTHIRD GUARD\n", "\n", "\tStill forty yards away... In mid-draw, be howls as a bullet\n", "\tfrom Ganz breaks the nearby ground. He fires, then turns and\n", "\truns for the prison bus.\n", "\n", "\tGANZ\n", "\n", "\tSmiling, fires twice. but the range is too great for pistol\n", "\twork...\n", "\n", "\tTHE OTHER PRISONERS\n", "\n", "\tWatching....Then they all scatter in different directions...\n", "\n", "\tGANZ\n", "\n", "\tHefts his weapon...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tCome on...\n", "\n", "\tHe and the big Indian run to the pickup, climb in and roar\n", "\taway.\n", "\n", "\tINT. BUS\n", "\n", "\tThe THIRD GUARD making a call on the police radio...\n", "\n", "\t\t\t\t\tOFFICER\n", "\t\t\tAPO 657, Unit 25 to APO 478t APO\n", "\t\t\t657t Unit 25 to APO 478.\n", "\n", "\t\t\t\t\tRADIO RESPONSE\n", "\t\t\tGo ahead, Unit 25.\n", "\n", "\t\t\t\t\tOFFICER\n", "\t\t\tEscape in progress. Two officers\n", "\t\t\tshot off rail crossing 31.\n", "\t\t\tPrisoners escaping. Two men, one\n", "\t\t\tsix-four, 200 pounds, dark, an\n", "\t\t\tIndian, the other, Albert Ganz,\n", "\t\t\tfive-ten...\n", "\n", "\tFURTHER DOWN THE HIGHWAY\n", "\n", "\tSeveral miles from the escape... A big semi parked by the\n", "\tside of ttie road; back doors to the closed trailer open. A\n", "\tstation wagon parked across the road. The pickup appears,\n", "\tapproaches the semi, slows down and drives up the ramp into\n", "\tthe van. Ganz and Billy jump out, shove the ramp up inside\n", "\tthe truck and close the big doors.\n", "\n", "\tSTATION WAGON\n", "\n", "\tGanz and Billy climb inside ancl roar off, back in the\n", "\tdirection of the road gang.\n", "\n", "\tBILLY BEAR\n", "\n", "\tTakes off his hat, puts on a baseball cap and sunglasses...\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tGet ready to duck.\n", "\n", "\tGanz dives for the floor. Three police cars go by, sirens\n", "\tblaring, lights flashing. They pass the road gang. Ganz\n", "\treappear, smiles...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tYou know something? I'm having a\n", "\t\t\treal good time.\n", "\n", "\tHIGHWAY\n", "\n", "\tThe station wagon blasts down the pavement... Becomes a small\n", "\tdot on the landscape.\n", "\n", "\tTRANSITION.\n", "\n", "\tA DOORWAY - NIGHT\n", "\n", "\tthe portal slams open revealing a man holding a huge\n", "\tpistol,jack cates, s.F.P.D., a large and powerful man... He\n", "\tstealthily moves up a stairwell.\n", "\n", "\tCORRIDOR\n", "\n", "\tHe stops at the top of the stairs... Listens gun still ready.\n", "\tA continuous sound of running water... Cates moves toward the\n", "\tbathroom. Rips the door open.\n", "\n", "\tBATHROOM\n", "\n", "\tThe shape behind the shower curtain freezes. Cates, gun held\n", "\tlevel, moves forward... Rips the shower curtain open.\n", "\tRevealing a young and very beautiful woman, ELAINE MARSHALL.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tInspector Jack Cates, S.F.P.D....\n", "\t\t\tAnd you're wanted.\n", "\n", "\tElaine stares at him as Cates turns off the water.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tWhat am I wanted for?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't answer questions, I ask\n", "\t\t\t'em...\n", "\n", "\tA moment as she continues to stare at his pistol.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI don't think your gun's loaded...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThis is a .44 Magnum, the most\n", "\t\t\tpowerful handgun in the world. You\n", "\t\t\tgotta ask yourself just one\n", "\t\t\tquestion. Are you feelin' lucky?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI still don't think it's loaded.\n", "\n", "\tElaine shakes her head and smiles, folds her arms over her\n", "\tbreasts, shivers a little... Cates looks at the cylinder,\n", "\tspins it...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHey, you're right.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYou're hopeless.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThat's the way I see it, too.\n", "\n", "\tBe puts the gun down on the edge of the sink, embraces her.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI'm all wet.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat's wrong with that?\n", "\n", "\tThey both smile.\n", "\n", "\tTRANSITION.\n", "\n", "\tBEDROOM\n", "\n", "\tCates in bed with Elaine. She wears his shirt.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tA guy in the bar called me a dumb\n", "\t\t\tbitch today.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat'd you do?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tIrrigated his face with the shot\n", "\t\t\tof J and B I'd just poured him.\n", "\t\t\tThen I tried to deck the sucker.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI guess he got the message...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tThen I sit back and I think, I\n", "\t\t\tmean, who's to say I'm not a dumb\n", "\t\t\tbitch. I work in a bar, right?\n", "\t\t\tI can't read a list of my academic\n", "\t\t\tcredentials to every booze-hound\n", "\t\t\tthat comes in the place... You are\n", "\t\t\twhat you do...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tPositive self-image problem all\n", "\t\t\tover again ... You are who you\n", "\t\t\tdecide you are unless you're the\n", "\t\t\ttype that lets assholes decide for\n", "\t\t\tyou.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tAren't you the one that thinks all\n", "\t\t\tpsychotherapy is bullshit?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI do think all psychotherapy is\n", "\t\t\tbullshit. But just because I think\n", "\t\t\tit's bullshit doesn't mean I don't\n", "\t\t\tknow something about it.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tIf this is your idea of\n", "\t\t\tsympathetic interest in my\n", "\t\t\tproblems, I'll take brutal\n", "\t\t\tindifference.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHey, you know what I really think?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tTell me--I'm dyin' to hear it.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI think you're ashamed to tend bar\n", "\t\t\twhich is sad because you look\n", "\t\t\tgreat in that outfit they make you\n", "\t\t\twear... You pull down four bills\n", "\t\t\ta week which is damn good, and you\n", "\t\t\tmix the best Pina Coladas I've\n", "\t\t\tever had... I think that if you\n", "\t\t\tneed bigger and better things ...\n", "\t\t\tthen go for em.\n", "\n", "\tShe smiles at him after this. It looks like they'll kiss.\n", "\tTheir faces are close. Then she lightly moves back.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYou oversimplify every...\n", "\n", "\tHe stops her in the middle of the sentence by kissing her,\n", "\tthen pulls back...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSome things are simple, right?\n", "\n", "\tTheir faces are very close ... but they don't touch for\n", "\tanother second.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tRight...\n", "\n", "\tTRANSITION.\n", "\n", "\tSAN FRANCISCO - DAWN\n", "\n", "\tTitles continue.\n", "\n", "\tTugs churning across the bay... Quiet city streets. Parked\n", "\tcars covered with early morning dew... A newspaper truck\n", "\tslowly grinds by, drops a bundleand moves on.\n", "\n", "\tEMBARCADERO - DAWN\n", "\n", "\tThe station wagon pulls up to a young punk, HENRY WONG, on a\n", "\tmotorcycle.\n", "\n", "\tBilly Bear smiles and leans out the driver's side window.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tYou got somethin' for us, Henry?\n", "\n", "\tHenry produces some credit cards. Billy passes them to Ganz\n", "\tfor inspection.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tHow hot are they?\n", "\n", "\t\t\t\t\tHENRY\n", "\t\t\tHot? Hey, they're not even room\n", "\t\t\ttemperature.\n", "\n", "\tGanz snorts derisively.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tHow ya doin'?\n", "\n", "\t\t\t\t\tHENRY\n", "\t\t\tCan't complain.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tWe got a lot to talk about.\n", "\n", "\t\t\t\t\tHENRY\n", "\t\t\tYeah, old times.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tWe'll follow you. Take it\n", "\t\t\tslow,okay?\n", "\n", "\t\t\t\t\tHENRY\n", "\t\t\tSure, right.\n", "\n", "\tGanz pockets the credit cards as Henry wheels away.\n", "\n", "\tINT. STATION WAGON\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tI want to drive awhile.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tI ain't tired yet.\n", "\n", "\tINT. STATION WAGON\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tMaybe after we get done with him\n", "\t\t\tI'm gonna buy us some girls.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tWhaddya mean, buy?\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tPros.\n", "\n", "\tGanz stares at Billy.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tPay money?\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tYeah, dummy. Money.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tI never paid for it in my life.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tIt's better when you pay... they\n", "\t\t\tlet you do anything.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tThey always let me do anything. I\n", "\t\t\tdon't want to pay for it. I never\n", "\t\t\tpaid for it in my life.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tJust do what I say, okay? We'll\n", "\t\t\tpay for the girls and have a good\n", "\t\t\ttime... Don't you trust me?\n", "\n", "\tBilly smiles.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tSure, I trust ya.\n", "\n", "\tThey drive off.\n", "\n", "\tNORTH BEACH - RESIDENTIAL STREET - DAWN\n", "\n", "\tFirst light breaks over Telegraph Hill. A quiet row of\n", "\tVictorian townhouses now converted into apartments.\n", "\n", "\tAPARTMENT BEDROOM - EARLY MORNING\n", "\n", "\tCates is sprawled across the double bed; Elaine is on the\n", "\tverge of falling off the edge. Cates' eyes snap open. A\n", "\tsecond later, his wrist watch alarm goes off. He turns it\n", "\toff, gets out of bed and begins pulling on his pants. Elaine\n", "\tsits up in bed, still wearing Cates' blue shirt... Cates\n", "\tpicks up a robe as Elaine gets out of bed on the opposite\n", "\tside, throws the robe to Elaine... She takes off the shirt,\n", "\tswaps it for the robe and throws the shirt to Jack.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYou know, if you let me come over\n", "\t\t\tto your place once in a while, you\n", "\t\t\tcould put on a clean shirt in the\n", "\t\t\tmorning.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat makes you think I have any\n", "\t\t\tclean shirts at my place?\n", "\n", "\tHe buttons his shirt and heads for the kitchen.\n", "\n", "\tKITCHEN\n", "\n", "\tCates brushing his teeth at the sink, Elaine making coffee.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYou know, that's my toothbrush,\n", "\t\t\tJack.\n", "\n", "\tHe keeps brushing.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMaybe you ought to buy me one.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tMaybe I would if I knew when you\n", "\t\t\twere coming back.\n", "\n", "\tHe stops brushing, turns and looks at her.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'm here. And I've been coming\n", "\t\t\tback for quite awhile... Let's not\n", "\t\t\thassle, okay? And can I have a\n", "\t\t\tcup of coffee? Please.\n", "\n", "\tShe pours some coffee, hands him a cup and saucer... Cates\n", "\tpours some whiskey into it from a flask.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tThat's a fairly crummy way to\n", "\t\t\tstart a morning.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMaybe I got a fairly crummy day\n", "\t\t\tahead.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tMaybe that makes a nice excuse.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMaybe you don't know what the hell\n", "\t\t\tyou're talking about.\n", "\n", "\tCates picks his holstered .44 off a chair back and begins\n", "\tstrapping it on.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tWhen you start with that\n", "\t\t\tattitude... it's like I don't know\n", "\t\t\twho you are.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat do you want to know? What\n", "\t\t\tdifference does it make? I'm the\n", "\t\t\tguy in your bed the last three\n", "\t\t\tmonths. I make you feel good. You\n", "\t\t\tmake me feel good. What the hell\n", "\t\t\telse do you want from a guy?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI wish you'd stop trying to make\n", "\t\t\tme mad so I won't care for you...\n", "\t\t\tI wish you'd give me a little more\n", "\t\t\tof a chance.\n", "\n", "\tHe turns away, moves into the corridor near the stairwell.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't have time for this. I\n", "\t\t\tgotta go to work.\n", "\n", "\tShe stands frozen... He turns back and looks at her; it's\n", "\thard to apologize.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tLook, I'm glad I'm in your life...\n", "\t\t\tand hell, with an ass like yours,\n", "\t\t\tI figure anything might be\n", "\t\t\tpossible.\n", "\n", "\tShe is warmed up by the first part, amused by the second; she\n", "\tapproaches...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYou know something, Jack, you\n", "\t\t\treally are hopeless.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThat's the way I see it, too.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tCall me later.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou sure you want me to?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYeah, for some reason, I'm sure...\n", "\n", "\tHe moves closer, kisses her..\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThanks for the coffee.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI think you forgot this. Hands him\n", "\t\t\this wallet and badge...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tGuess people ought to know who I\n", "\t\t\tam...\n", "\n", "\tHe turns to go down the stairwell...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tJack, wait. Here...\n", "\n", "\tShe puts a scarf around his neck.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\t\t\t (continuing)\n", "\t\t\tIt's cold as hell out these\n", "\t\t\tmornings, and you know what the\n", "\t\t\tman said, the coldest winter I\n", "\t\t\tever spent was the summer I spent\n", "\t\t\tin San Francisco...\n", "\n", "\tThey don't kiss. He nods appreciately, the scarf in hand as\n", "\the turns and goes.\n", "\n", "\tSTREET - NORTH BEACH - MORNING\n", "\n", "\tCates comes out of Elaine's apartment building, crosses to\n", "\this whipped and battered 64 Cadillac convertible, notices a\n", "\tparking ticket stuck under the windshield wiper...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSon of a bitch.\n", "\n", "\tShoves the ticket in his coat pocket, gets into the Caddie\n", "\tputs the scarf around the rear view mirror, starts the engine\n", "\tand guns away...\n", "\n", "\tCITY STREET\n", "\n", "\tCates driving the convertible; he comes down a hill and turns\n", "\ttoward the East Bay...\n", "\n", "\tTRANSITION.\n", "\n", "\tGOLDEN GATE PARK - MORNING\n", "\n", "\tHenry Wong, seated on a park bench. Now very dead, a bullet\n", "\thole in the middle of his forehead. Billy Bear is seated next\n", "\tto him on the bench reading the race form.\n", "\n", "\tGANZ\n", "\n", "\tUsing the telephone at an outdoor booth a few feet beyond the\n", "\tbench.\n", "\n", "\tSTREET - BROADWAY DISTRICT - DAY\n", "\n", "\tLUTHER and ROSALIE, a young couple, turn a corner. A dark\n", "\tparody of all-American young marrieds. They are bickering as\n", "\tusual.\n", "\n", "\t\t\t\t\tROSALIE\n", "\t\t\tI liked that carpet we saw.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tWe can't afford it.\n", "\n", "\t\t\t\t\tROSALIE\n", "\t\t\tDon't remind me.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tWhaddya want me to do, go out and\n", "\t\t\tsteal for the money? I hated the\n", "\t\t\tcolor anyway; the color sucked...\n", "\n", "\tSuddenly, Billy and Ganz descend on Luther and Rosalie and\n", "\tpull them into their station wagon..\n", "\n", "\tINT. STATION WAGON\n", "\n", "\tBilly has Rosalie by the mouth, gagging her with his big\n", "\tpaw... Ganz has his gun at Luther's neck.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tSurprise, Luther.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tWhaddya want? I thought you were\n", "\t\t\tlocked up-\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tI want the money, asshole, what do\n", "\t\t\tyou think? The money that Reggie\n", "\t\t\thid...\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tI don't know what you're talkin'\n", "\t\t\tabout.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tYou want that Indian to snap her\n", "\t\t\tneck?\n", "\n", "\tHe mimes the gesture... snap...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tInstead of worryin' about Reggie,\n", "\t\t\tyou better worry about me...\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tDon't give me this, we were\n", "\t\t\tpartners.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tBilly, go ahead, break it...\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tNo! Don't kill her. I can get you\n", "\t\t\tthe money.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tWhen?\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tI can't get it until Monday.\n", "\t\t\tHonest.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tYou chickenshit punk...\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tHonest. The place we stashed it\n", "\t\t\topens Monday morning. I can't get\n", "\t\t\tit till then. Monday morning,\n", "\t\t\tthat's when it opens. After that,\n", "\t\t\tI'll get the money to you right\n", "\t\t\taway...\n", "\n", "\tGanz finally takes the gun from the neck.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tI always liked you, Luther. You\n", "\t\t\twere always a lotta fun to hang\n", "\t\t\tout with...\n", "\n", "\tRosalie is rubbing her neck now that she's been released...\n", "\tGanz gestures to Billy.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWe're gonna keep her.\n", "\n", "\tLuther desperately doesn't like this.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tCome on, you can trust me. Please.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tYou try to mess with us or go to\n", "\t\t\tthe cops, I promise you, I'll put\n", "\t\t\tholes in her you wouldn't believe.\n", "\n", "\tHe smiles at Luther, pinches him on the cheek, shoves him out\n", "\tof the car.\n", "\n", "\tLUTHER\n", "\n", "\tStands shivering as it powers away.\n", "\n", "\tWALDEN HOTEL - DAY\n", "\n", "\tA small hotel on one of the quiet streets behind Union Square.\n", "\n", "\tA GREEN COUGAR\n", "\n", "\tPulls up across the street.\n", "\n", "\tINT. CAR\n", "\n", "\tTha car arrives in front of the hotel.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tNice place, huh?\n", "\n", "\tRosalie is very nervous.\n", "\n", "\t\t\t\t\tROSALIE\n", "\t\t\tWhat are you gonna do to me in\n", "\t\t\tthere?\n", "\n", "\tGanz gives her a casual smile.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tMaybe that's where I'm gonna cut\n", "\t\t\tyour throat.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tHe's just kiddin', you just keep\n", "\t\t\tdoin' what I tell ya, you'll be\n", "\t\t\tokay.\n", "\n", "\tThey move out of the car, head for the hotel.\n", "\n", "\tLOBBY\n", "\n", "\tA FRIZZY YOUNG BLONDE sits behind the desk in a mirrored\n", "\tentrance hall. She reads a lurid paperback. Morning traffic\n", "\tstreams by outside as Ganz, Billy and Rosalie enter and\n", "\tapproach the desk.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tWe need some rooms for a couple of\n", "\t\t\tnights...Okay?\n", "\n", "\tShe smiles at Ganz.\n", "\n", "\t\t\t\t\tFRIZZY\n", "\t\t\tSure. We don't get many real\n", "\t\t\tcustomers, ya know? Most people\n", "\t\t\tonly stay an hour or two...\n", "\n", "\tPasses a form across. Ganz signs it, Frizzy glances at his\n", "\tsignature then takes a key from the rack behind.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tI want her young. And tall. Nice\n", "\t\t\tlegs. Legs are important. Then,\n", "\t\t\treal thin. Yeah. NO jeans-A\n", "\t\t\tdress? a nice summer dress. You\n", "\t\t\tknow I want her fresh... I'll tell\n", "\t\t\tyou why, because I been hoein'\n", "\t\t\tweeds and makin' license plates\n", "\t\t\tfor a couple of years... Yeah, I\n", "\t\t\tknow you don't get it...\n", "\n", "\tBILLY BEAR\n", "\n", "\tSees a couple approaching, he shoves the dead man down on the\n", "\tbench and spreads the newspaper over his head. The body now\n", "\tlooking like a typical park bum who has spent the night.\n", "\tBilly walks over to Ganz.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tHey, what about me?\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tAnd I need one more for my pal.\n", "\t\t\tYeah. Make her an Indian. No, not\n", "\t\t\ta turban, you know, a squaw.\n", "\n", "\tBilly smiles, takes the Polaroid...\n", "\n", "\tPOLAROID\n", "\n", "\tA close shot of the dead man with the bullet hole in his\n", "\tforehead.\n", "\n", "\tGANZ\n", "\n", "\tTakes the photograph back from Billy and slips it into his\n", "\tjacket pocket...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tWalden Hotel. Third near Broadway.\n", "\t\t\tTell them to ask for ... uh...\n", "\n", "\tHe takes the hot credit cards out of his pocket, the name\n", "\tembossed on the plastic..\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tG.P. Polson...P.O.L.S.O.N....Just\n", "\t\t\tbe a couple of hours.\n", "\n", "\tHangs up. The two men head for a green Plymouth...\n", "\n", "\tTRANSITION.\n", "\n", "\t\t\t\t\tFRIZZY\n", "\t\t\tNumber twenty-seven, Mr. Polson.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tPut them next door, okay.\n", "\n", "\tShe gives him a slightly knowing look.\n", "\n", "\t\t\t\t\tFRIZZY\n", "\t\t\tSure, hey, you got the whole floor\n", "\t\t\tto yourself...\n", "\n", "\tGanz sends her back a sharp look.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tKeep your filthy ideas to\n", "\t\t\tyourself, lady.\n", "\n", "\tGanz picks up his suitcase, walks over to the nearest\n", "\tstairwell. Billy and Rosalie follow...\n", "\n", "\tTRANSITION.\n", "\n", "\tSTREET\n", "\n", "\tBars starting to fill up with mid-day customers... A black\n", "\tChevy cruises past and stops further up the block. Two\n", "\tPlainclothesmen, VANZANT and ALGREN, get out of the car. As\n", "\tthey start toward the Walden...\n", "\n", "\tTHE CADILLAC CONVERTIBLE\n", "\n", "\tPulls up near the two men. Cates climbs out of his car and\n", "\twalks over to them.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHey, fellas, what's happening?\n", "\t\t\tRadio said you guys had something\n", "\t\t\ton...\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\tNot much, Jack ... Salesman named\n", "\t\t\tPolson had his credit cards\n", "\t\t\tlifted...\n", "\n", "\tAlgren nods over to the parking lot opposite.\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\t\t\t (continuing)\n", "\t\t\tOne of Polson's cards rented that\n", "\t\t\tgreen coupe.\n", "\n", "\t\t\t\t\tVANZANT\n", "\t\t\tNot too much for a big rough tough\n", "\t\t\tgunfighter like you to do on this\n", "\t\t\tone...\n", "\n", "\tCates smiles at the verbal positioning he's used to with his\n", "\tcolleagues.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSuspect packed or is this a\n", "\t\t\tlaugher?\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\tFive and dime stuff. Polson said\n", "\t\t\ta kid with a switchblade mugged\n", "\t\t\thim and drove off on a motorcyle.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, well, I guess you two are\n", "\t\t\texperts at taking boy scout knives\n", "\t\t\taway from teenagers...\n", "\n", "\t\t\t\t\tVANZANT\n", "\t\t\tYeah, we are, that means you can\n", "\t\t\tstay outta this one. We don't have\n", "\t\t\tany big need for the artillery\n", "\n", "\tVanzant's turn to smile.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHey, I'm just offering to help\n", "\t\t\tout... I like to watch real pros\n", "\t\t\twork.\n", "\n", "\t\t\t\t\tVANZANT\n", "\t\t\tHelp, huh? Sometimes your kind of\n", "\t\t\thelp tends to leave the suspect in\n", "\t\t\tbad shape.\n", "\n", "\tAlgren...mediator... soothes the competitive situation.\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\tHey, relax ... Jack, you wanna\n", "\t\t\tcome inside, fine... You can stake\n", "\t\t\tout the lobby...\n", "\n", "\tCates, a bit disgusted at the politics of this moment, nods...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tFine, it's your show...\n", "\n", "\tThe three men move toward the Walden.\n", "\n", "\tWALDEN HOTEL LOBBY\n", "\n", "\tFrizzy Blonde still behind the desk. Still reading the lurid\n", "\tpaperback. Unaware as Vanzant and Algren approach... She\n", "\tlooks up as they flash their badges.\n", "\n", "\t\t\t\t\tFRIZZY\n", "\t\t\tAw, you guys were in last week.\n", "\t\t\tYou better ask around. I'm not\n", "\t\t\tsupposed to be hassled... I got\n", "\t\t\tfriends.\n", "\n", "\t\t\t\t\tVANZANT\n", "\t\t\tHey, park the tongue for a second,\n", "\t\t\tsweetpants, we just want to search\n", "\t\t\ta room.\n", "\n", "\t\t\t\t\tFRIZZY\n", "\t\t\tNot unless you got a warrant.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMaybe you should of been a lawyer\n", "\t\t\tinstead of a dumb skirt workin'\n", "\t\t\tbehind a register.\n", "\n", "\tFrizzy turns to find Cates standing beside her. He nudges her\n", "\taside. Starts going throught the register book.\n", "\n", "\t\t\t\t\tFRIZZY\n", "\t\t\tAw, come on, what the shit is this?\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\tWe're looking for a guy going\n", "\t\t\tunder the name Polson...\n", "\n", "\tFrizzy sits back down in defeat.\n", "\n", "\t\t\t\t\tFRIZZY\n", "\t\t\tOkay, big deal. Get it over with.\n", "\n", "\tCates finds the name.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMr. Polson, room 27...\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\tIs he alone?\n", "\n", "\t\t\t\t\tFRIZZY\n", "\t\t\tNaw, his sister went up an hour\n", "\t\t\tago.\n", "\n", "\tVanzant turns to Cates.\n", "\n", "\t\t\t\t\tVANZANT\n", "\t\t\tOkay, like we said, you stake out\n", "\t\t\tthe lobby.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSure. Great. Whatever.\n", "\n", "\t\t\t\t\tVANZANT\n", "\t\t\tYou're not missing out on\n", "\t\t\tDillinger. This punk just stole\n", "\t\t\tsome credit cards.\n", "\n", "\tCates watches the two Detectives head for the elevator.\n", "\n", "\tSECOND FLOOR CORRIDOR\n", "\n", "\tVanzant and Algren move down the hallwayStop at the far end.\n", "\tBoth Detectives draw their pistols and approach a door.\n", "\n", "\tROOM\n", "\n", "\tSummer dress and undergarments scatteredon the floor. LISA,\n", "\tlies naked under the covers.\n", "\n", "\tShe matches Ganz's earlier requirements.Smoking a cigarette,\n", "\tstaring at the ceiling. Ganz remains on top of the blanket.\n", "\tStill in his shirt and pants watching TV. Three sharp knocks\n", "\tat the door. Ganz reacts as if he's received an electric\n", "\tshock. His hand goes under the pillow... Comes up with an\n", "\tautomatic. Shoves it hard into Lisa's stomach.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tHey...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tShut up.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tWhat the hell's wrong? I didn't\n", "\t\t\tdo anything.\n", "\n", "\tAnother knock. Ganz makes her move to the door.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWhat do you want? What's goin' on?\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tShut up.\n", "\n", "\tShe grabs her dress and tries to pull it on.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tNow ask who it is.\n", "\n", "\tShoves harder with the pistol.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tCome on, ask.\n", "\n", "\tShe calls out.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tWho is it?\n", "\n", "\tCORRIDOR\n", "\n", "\tVanzant and Algren stand back from the door. Guns held ready.\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\tPolice... open up.\n", "\n", "\tR00M\n", "\n", "\tLisa looks from the door back to Ganz. Then at the gun held\n", "\tagainst her. She's petrified.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tStall.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tWhat do you want?\n", "\n", "\t\t\t\t\tVANZANT\n", "\t\t\tPolice business. Come on, open up.\n", "\n", "\tA smile on Ganz' face. Almost as if he's enjoying the moment.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tKeep stallin'.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tAlright, I'm coming...hold on.\n", "\n", "\tI'll just be a minute.\n", "\n", "\tCORRIDOR\n", "\n", "\tVanzant and Algren waiting. Sounds of movement from within\n", "\tthe room.\n", "\n", "\tLOBBY\n", "\n", "\tCates moves toward the foot of the stairwell. Looks across at\n", "\tmirror on the wall opposite. The entire lobby covered from\n", "\tthis spot. Every angle, including Frizzy.\n", "\n", "\tROOM\n", "\n", "\tGanz gestures to Lisa.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tJust a second.\n", "\n", "\tGanz belts her with his gun; she falls..Ganz goes through the\n", "\tconnecting door. Slips into the adjacent room.\n", "\n", "\tBILLY'S ROOM\n", "\n", "\tAnother Hooker cowers in the corner, pulling on her clothes.\n", "\tShe's a Mexican girl in a ridiculous 'Indian' outfit.\n", "\n", "\t\t\t\t\tMEXICAN GIRL\n", "\t\t\tQue paso? Que esta pasando? No\n", "\t\t\tentiendo...\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tShut up.\n", "\n", "\tBilly goes to where Rosalie is awkwardlytied to a chair with\n", "\tan electric dord. He pulls her to her feet as Ganz moves by.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWhen I say jump, girl, you better\n", "\t\t\tjump.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\t\t\t (continuing)\n", "\n", "\tCORRIDOR\n", "\n", "\tVanzant reaches down, tries the knob. Locked. Algren moves\n", "\tback, preparing to kick the door down.\n", "\n", "\tADJACENT ROOM\n", "\n", "\tGanz opens the door behind the two cops. Raises his pistol\n", "\tand fires. Billy's shots follow immediately. Hits Vanzant.\n", "\tAlgren rolls just as Ganz fires again. Wounded, he gets off\n", "\tthree shots, then moves inside Ganz' room. Ganz and Billy run\n", "\tfor the elevator... Exchange two more shots with Algren. The\n", "\tMexican Girl begins screaming in Spanish...\n", "\n", "\tLOBBY\n", "\n", "\tCates draws his .44. Races up the stairs three at a time.\n", "\tFrizzy starts to frantically call the police.\n", "\n", "\tCORRIDOR\n", "\n", "\tCates stops at the landing. Vanzant's body sprawled across\n", "\tthe hallway. Algren back in the corridor, still losing\n", "\tblood... Leans against the wall for support... Lisa staggers\n", "\tout of the room, screams. Algren points the gun toward the\n", "\televator. Indicating where Ganz and Billy have just fled.\n", "\tCates starts back down toward the lobby.\n", "\n", "\tELEVATOR\n", "\n", "\tGanz and Billy, guns ready as the carriage jolts downward.\n", "\tRosalie is terrified, sobbing...\n", "\n", "\tCATES\n", "\n", "\tArrives at the halfway turn of the second staircase. He takes\n", "\tthe next flight in two jumps.\n", "\n", "\tELEVATOR\n", "\n", "\tAs the doors open, Ganz gestures for Billy and Rosalie to\n", "\twait as he heads for the lobby.\n", "\n", "\tLOBBY\n", "\n", "\tCates literally flies into the lobby just as Ganz appears. He\n", "\tslams Ganz against a column, belts him across the neck with\n", "\this pistol. Ganz screams with pain, drops his gun... Cates\n", "\tagain slams him with his pistol, felling him...\n", "\n", "\tGANZ\n", "\n", "\tSlides across the floor.\n", "\n", "\tCATES Senses something ... moves just as Billy appears behind\n", "\tand fires at him. The bullet takes out a window. Cates dives\n", "\tover the desk. Another bullet chews up the wood.\n", "\n", "\tLOBBY\n", "\n", "\tFrizzy has been standing beside her desk, screaming... Cates'\n", "\tmove and the accompanying bulletspanic her. She dashes for\n", "\tsafety... Cates gets to his feet behind cover. Sees Billy\n", "\tholding Rosalie by the throat. Frizzy begins to scream.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tHe'll blow her goddamn head off.\n", "\n", "\tCates doesn't miss a beat. He slowly levels his .44. Takes\n", "\tcareful aim and starts to fire at Billy.\n", "\n", "\t\t\t\t\tROSALIE\n", "\t\t\tNo. No.\n", "\n", "\tCates' shot narrowly misses Rosalie. The bullet smashes into\n", "\ta mirror above Billy's head. Cates keeps moving closer, gun\n", "\tpointed straight ahead. Billy pushes the pistol against\n", "\tRosalie'temple. For the first time, Cates hesitates. They\n", "\tface each other across the length of the lobby.\n", "\n", "\tALGREN\n", "\n", "\tStruggles down the remaining steps into the lobby. He still\n", "\tholds his revolver. Dares not raise it towards Billy and\n", "\tRosalie.\n", "\n", "\tBILLY BEAR\n", "\n", "\tCovers Algren from near the entrance. He's confused, doesn't\n", "\tknow what to do... He keeps hold of Rosalie.\n", "\n", "\tGANZ\n", "\n", "\tHis eyes catch Algren's...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tYou. Drop it and we won't kill\n", "\t\t\ther.\n", "\n", "\tAlgren tosses his gun to the floor.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tNow, tell him to drop his Goddamn\n", "\t\t\tpiece.\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\tDo it, Cates.\n", "\n", "\tNo response.\n", "\n", "\t\t\t\t\tALGREN\n", "\t\t\t\t\t (continuing)\n", "\t\t\tDo it, Cates. Goddamn it, do it.\n", "\n", "\tCates lowers his gun. Finally lets it drop to the floor.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tKick it over here.\n", "\n", "\tCates does; Ganz picks it up, smiles, looks at Billy.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tGet the car.\n", "\n", "\tThen back to Cates as Billy runs out the entrance with\n", "\tRosalie.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYour gun's just like mine.\n", "\n", "\tHe's going to kill Cates. But first be glances at Algren.\n", "\tThen, almost casually, shoots him twice with Cates' .44.\n", "\tAlgren staggers back. Dead before he hits the floor. Cates\n", "\ttwists sideways just as Ganz fires. The bullet misses. Again\n", "\tFrizzy starts screaming and struggling. Ganz swipes the woman\n", "\tacross the head with the gun. Her body slumps to the floor.\n", "\tPolice sirens can be heard in the distance. Cates makes an\n", "\tattempt for Algren's gun. A bullet splatters against the\n", "\tfloor only inches from his outstretched fingers. The gun\n", "\tskitters out of reach.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou lying son of a bitch...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tWhat are you talking about? We\n", "\t\t\tdidn't kill her ...\n", "\n", "\tGanz smiles.\n", "\n", "\tWith your own gun, cop. How does it feel? Cates leaps into a\n", "\twooden phone booth. Ganz leisurely blasts away at the booth\n", "\twith both his and Cates' gun. Two bullets crash into the\n", "\tbooth. Ganz moves to check inside the booth but sirens are\n", "\tominously near. Ganz finally retreats out the entrance.\n", "\n", "\tSTREET\n", "\n", "\tBilly and Rosalie weave their way across street to the\n", "\tCougar. They make a U-turn. Ganz runs out. Car pulls out,\n", "\tthen the police cars and vans begin to arrive.\n", "\n", "\tPHONE BOOTH\n", "\n", "\tChunks of wood on the floor. Shafts of light through a dozen\n", "\tbullet holes. Shattered receiver dangling from a cord. Cates,\n", "\twedged tight into the very top of the cubicle. He drops to\n", "\tthe floor.\n", "\n", "\tLOBBY\n", "\n", "\tThe police arrive. Swarm into the hotel. All eyes on Cates as\n", "\the rushes to Algren. Too late... Cates realizes Algren is\n", "\tdead. He cradles Algren's head as he stares at the arriving\n", "\tTAC Squad and Patrolmen.\n", "\n", "\tTRANSITION.\n", "\n", "\tSQUAD ROOM DAY\n", "\n", "\tCates walks in. Several Detectives gather around him.\n", "\n", "\t\t\t\t\tFAT COP\n", "\t\t\tWhat happened?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tRead the report.\n", "\n", "\t\t\t\t\tOLD COP\n", "\t\t\tTwo cops blown away by a credit\n", "\t\t\tcard booster... that don't figure.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNo shit.\n", "\n", "\t\t\t\t\tFAT COP\n", "\t\t\tThey were good cops.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThey were good cops who fucked up\n", "\t\t\tand got careless.\n", "\n", "\tA snotty YOUNG COP paces.\n", "\n", "\t\t\t\t\tYOUNG COP\n", "\t\t\tThat's what you say, Cates...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah.\n", "\n", "\t\t\t\t\tYOUNG COP\n", "\t\t\tBut that's what you say about all\n", "\t\t\tof us all the tine ... we're\n", "\t\t\talways the ones fucking up when\n", "\t\t\tyou tell it...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThe truth hurts, doesn't it, buddy?\n", "\n", "\tCates looks at the Old Cop.\n", "\n", "\t\t\t\t\tOLD COP\n", "\t\t\tIt don't figure.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI need to borrow a piece.\n", "\n", "\tThe OLD COP shrugs... looks in his desk...\n", "\n", "\t\t\t\t\tYOUNG COP\n", "\t\t\tSomebody steals your gun, you're\n", "\t\t\tsupposed to file a report.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tAre you gonna tell me about police\n", "\t\t\tprocedure? Do me a favor, don't\n", "\t\t\tgive me a bunch of crap.\n", "\n", "\t\t\t\t\tYOUNG COP\n", "\t\t\tI guess when two cops die on\n", "\t\t\taccount of your fuck up you want\n", "\t\t\tto keep it as quiet as possible...\n", "\n", "\tCates loses it for a second, lands on him with both hands,\n", "\tpushes him against a wall... The room goes quiet. Cates cools\n", "\tdown.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tJust shut the fuck up.\n", "\n", "\tThe other cops don't intervene. They just watch. Cates cools\n", "\tdown, straightens up. HADEN walks by, or, rather, speeds by.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tCates, I'll need to see you in\n", "\t\t\tfive minutes, exactly five.\n", "\n", "\tThe Old Cop hands Cates a gun, a traditional Army .45...\n", "\n", "\t\t\t\t\tOLD COP\n", "\t\t\tBest I can do.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tD'you read me, Cates...\n", "\n", "\tHaden continues moving away.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tFive minutes. I heard you, your\n", "\t\t\tvoice carries...\n", "\n", "\tAs Cates is examining the gun, RUTH, a lab technician, enters\n", "\tand drops three 8 x 10's on the desk near Cates.\n", "\n", "\t\t\t\t\tRUTH\n", "\t\t\tThey're still wet.\n", "\n", "\tCates lifts the blow-ups, each one showing a different aspect\n", "\tof a spent bullet.\n", "\n", "\t\t\t\t\tRUTH\n", "\t\t\t\t\t (continuing)\n", "\t\t\tLots of people getting shot with\n", "\t\t\t.44's lately ... Last year, it was\n", "\t\t\tSaturday Night Specials..now it's\n", "\t\t\theavy stuff. People must be\n", "\t\t\tgetting madder about something.\n", "\n", "\tCates starts pinning the blow-ups onto a large bulletin board\n", "\ton the wall. Nearby, at the same time (within Cates' line of\n", "\tsight, within earshot), Lisa, the Hooker, is being\n", "\tinterrogated by a POLICE-WOMAN who pulls the statement off\n", "\tthe typewriter. Nearby, the Indian Hooker is being\n", "\tinterrogated in Spanish.\n", "\n", "\t\t\t\t\tPOLICEWOMAN\n", "\t\t\tYou're an accessory to Murder One,\n", "\t\t\tso you're going to have to do a\n", "\t\t\twhole lot better than what we got\n", "\t\t\tdown here, honey...\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tGimme a break, huh? ... Look, I\n", "\t\t\tgot there. He was a trick just\n", "\t\t\tlike any other for all I knew.\n", "\t\t\tThat's all there is. He didn't\n", "\t\t\tfeel like sitting and talking. He\n", "\t\t\twas in a big hurry to get laid.\n", "\t\t\tI was with him about an hour...\n", "\n", "\tCates has gotten interested in the last part of this ...\n", "\tdrifts toward her... A DETECTIVE comes through, begins\n", "\tdistributing I.B.M. printouts to Cates, the other nearby\n", "\tofficers..\n", "\n", "\t\t\t\t\tDETECTIVE\n", "\t\t\tWe got a print from the hotel\n", "\t\t\troom. Guy's real name is Ganz,\n", "\t\t\tAlbert Ganz. A hitter from back\n", "\t\t\tEast but he worked out here a few\n", "\t\t\tyears back. Armed robbery. Broke\n", "\t\t\tout of prison two days ago and\n", "\t\t\tcapped two of the guards. A real\n", "\t\t\tanimal. Wait'll you see this...\n", "\n", "\tCates reads the printout, then smoothly,imperiously, he takes\n", "\tover the questioning of Lisa.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tDid he give you a return match?\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tHe wasn't interested.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMaybe he didn't like your\n", "\t\t\tperformance.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tFuck you.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'll take a raincheck...\n", "\n", "\tFrom the side, Ruth is pointing at the photos...\n", "\n", "\t\t\t\t\tRUTH\n", "\t\t\tThis'll interest you, Jack...we've\n", "\t\t\tgot something here from your\n", "\t\t\tgun... and these are from the\n", "\t\t\tfirst weapon Ganz used...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't get it.\n", "\n", "\t\t\t\t\tRUTH\n", "\t\t\tHere.\n", "\n", "\t\t\t\t\tCATES\n", "\n", "\tShe turns, produces the third photo. Pins it beside the one\n", "\tfrom the Walden Hotel.\n", "\n", "\t\t\t\t\tRUTH\n", "\t\t\tA perfect match for the markings\n", "\t\t\tfrom the first gun he used... but\n", "\t\t\tnot from the Walden Hotel... fired\n", "\t\t\tat least six hours earlier...at\n", "\t\t\tpoint blank range... right between\n", "\t\t\tthe eyes. Found him on a park\n", "\t\t\tbench...\n", "\n", "\tShe shows him two more pictures. Police forensics shots of\n", "\tHenry Wong ... very dead on the park bench...\n", "\n", "\t\t\t\t\tRUTH\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYa know, there are some very bad\n", "\t\t\tpeople out there in the world.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLook at it this way, Ruth. If\n", "\t\t\tthere weren't, what would there be\n", "\t\t\tfor us to do?\n", "\n", "\tLisa continues with the Policewoman.\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tAnyway... so I got there and took\n", "\t\t\thim down. He started watching\n", "\t\t\ttelevision and then you\n", "\t\t\tsensational people started banging\n", "\t\t\ton the door... that's all...\n", "\t\t\texcept ... he's gonna give you\n", "\t\t\tguys a hard time.\n", "\n", "\t\t\t\t\tCATES\n", "\n", "\tCates looks up as he hears that remark. Notices KEHOE,\n", "\tanother Detective, entering with a long suitcase.\n", "\n", "\t\t\t\t\tPOLICEWOMAN\n", "\t\t\tWhat makes you think so?\n", "\n", "\t\t\t\t\tLISA\n", "\t\t\tI think he liked shooting cops a\n", "\t\t\tlot more than getting laid.\n", "\n", "\tCates watches Kehoe unpack the box.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tIs that what this guy Ganz had in\n", "\t\t\tthe hotel?\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tEvery last bit of it. The big\n", "\t\t\tguy's room was empty.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'll help you out.\n", "\n", "\tCates and Kehoe start going through the suitcase. Kehoe\n", "\tproduces a speed loader for a .44...\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tThis guy must have had a .44 like\n", "\t\t\tyours, Jack. Now he's got yours.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tShit.\n", "\n", "\tKehoe next produces several boxes of shells.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tThis cat was real serious about\n", "\t\t\this artillery.\n", "\n", "\tAn Attendant comes through, hands Kehoe a file. He opens it,\n", "\tshows the file to Cates who reads the name under the mug shot.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tBilly Bear...\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tBackup man from the East Bay.\n", "\t\t\tWorked with Ganz a few years ago\n", "\t\t\tand sprung him from the road gang.\n", "\n", "\tKehoe opens the second file. Four mug shots are inside.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWho are all these?\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tThey all pulled a bunch of jobs\n", "\t\t\twith Ganz about four years ago.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWait a minute, wait a minute...\n", "\t\t\twho's this?\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tUhh ... Wong, Henry Wong. He was\n", "\t\t\tin on the same job.\n", "\n", "\tCates spins the file around so that both Ruth an Kehoe can\n", "\tsee it, throws the forensic shots down beside it.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tTell me that's not the same guy.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tHey ... Dick Tracy.\n", "\n", "\t\t\t\t\tRUTH\n", "\t\t\tDid Ganz have a grudge against his\n", "\t\t\told friends?\n", "\n", "\tHaden comes out of his office.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tGet in here, Cates.\n", "\n", "\tCates ignores him.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI think I wanna have a discussion\n", "\t\t\tabout it with any of the ones\n", "\t\t\tstill walking. Can we find them?\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tHere's the file. Cates checks the\n", "\t\t\tfile.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tOne of em's in the slam.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tDamn you, Cates ... Get in here.\n", "\n", "\tCates walks into Haden's cubicle.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI want to be left alone on this\n", "\t\t\tone. Algren was killed with my gun.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tYeah, I read the report...\n", "\n", "\tHaden shuffles some papers, seems to ignore Cates.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHey, the bastard's got my gun. I\n", "\t\t\twant it back.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tJack, come on, there is an\n", "\t\t\tofficial department policy about\n", "\t\t\tcop killings. Cop killers\n", "\t\t\trepresent a special priority\n", "\t\t\tbecause any man crazy enough to\n", "\t\t\tkill a cop is a greater threat to\n", "\t\t\tan unarmed civilian... In other\n", "\t\t\twords, we can't seen like we're in\n", "\t\t\tthe revenge business... I know, we\n", "\t\t\tall know the truth's a little\n", "\t\t\tdifferent.\n", "\n", "\tCates almost smiles at Haden.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah...\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tAnthing botherin' you besides\n", "\t\t\tlosin' your gun?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah. It bothers me when cops get\n", "\t\t\thurt while I'm makin' a play. I\n", "\t\t\tdon't like it.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tYou might be more of a team player\n", "\t\t\tand a little less of a hot dog on\n", "\t\t\tthis one, Jack.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tBeing a hot dog's worked pretty\n", "\t\t\twell for me so far... Besides, I\n", "\t\t\tgot a lead...\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tOkay. You're not a team player.\n", "\t\t\tYou gotta do things your own way.\n", "\t\t\tFine. Nail this guy and make us\n", "\t\t\tall look good. But you better\n", "\t\t\twatch your ass. If you screw up,\n", "\t\t\tI can promise you, you're goin'\n", "\t\t\tdown.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou really know how to send a guy\n", "\t\t\tout with a great attitude. He\n", "\t\t\tstarts to go.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tJack?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah?\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tTry not to get your ass shot to\n", "\t\t\tpieces. We got enough dead cops on\n", "\t\t\tthis one.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'll keep it in mind.\n", "\n", "\tLeaves.\n", "\n", "\tTRANSITION.\n", "\n", "\tCITY STREET\n", "\n", "\tHeavy vehicle and pedestrian traffic. Cates stands near a hot\n", "\tdog stand. Elaine joins him. Cates is eating a hot dog and\n", "\tstudying a police file.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tGreat place for lunch.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, one of my favorites.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYou made the front page.\n", "\n", "\tHe hands her a dog.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, Guess it must have been a\n", "\t\t\tslow news day...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tJack, are you okay?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSure, okay, fine, no problem...\n", "\t\t\tSee, there's this kid in jail ...\n", "\t\t\tFirst thing I got to do is go up\n", "\t\t\tand see what he knows ...\n", "\n", "\tHe points to the file.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI thought you might come over to\n", "\t\t\tmy place to recuperate. I don't\n", "\t\t\thave to go to work until the day\n", "\t\t\tafter tomorrow.\n", "\n", "\tThey begin to stroll down the street.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI got nothing to recuperate from.\n", "\t\t\tThere's a guy out there with my\n", "\t\t\tgun, and I want it back.\n", "\n", "\tShe's not happy with this attitude.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tLook, spare me the macho bullshit\n", "\t\t\tabout your gun...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tBullshit? I'll tell you about\n", "\t\t\tbullshit. My gun's a real weapon\n", "\t\t\tin the hands of a real maniac who\n", "\t\t\tknows how to use it. It isn't my\n", "\t\t\tmacho bullshit that's killing\n", "\t\t\tpeople, my gun is ...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tLook, Jack, if you make everything\n", "\t\t\tyour personal responsibility,\n", "\t\t\tyou'll turn into a bad cop. It's\n", "\t\t\tnot a practical way to function...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI didn't get burned, two cops did.\n", "\t\t\tListen, I'll tell you about\n", "\t\t\tpersonnel responsibility. I like\n", "\t\t\tto get the job done right. And if\n", "\t\t\tI don't get my job done right...\n", "\t\t\tI'm for shit.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tHere it comes again ... the sacred\n", "\t\t\tjob...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThat's right. I'm not like you.\n", "\t\t\tI'm not gonna sit on my ass\n", "\t\t\twondering what's right and what's\n", "\t\t\twrong... There's a psycho out\n", "\t\t\tthere killing people with my gun\n", "\t\t\tand I'm gonna get him. Because\n", "\t\t\tit's my job. And if you don't get\n", "\t\t\tthat...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI get that. The job first.\n", "\t\t\tEverything else, especially me,\n", "\t\t\tsecond. I get it. I don't like it.\n", "\n", "\tPause.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNo one asked you to like it... But\n", "\t\t\tthat's the way it is.\n", "\n", "\tTRANSITION.\n", "\n", "\tPRISON CELL BLOCK - DAY\n", "\n", "\tCates and a GUARD on the upper deck approaching the door to\n", "\tthe cell block... The Guard shouts upward.\n", "\n", "\t\t\t\t\tGUARD\n", "\t\t\tOpen Nine.\n", "\n", "\tWith a huge metal clatters the door to the cell block opens.\n", "\n", "\tCELL BLOCK - NEAR ENTRANCE\n", "\n", "\tCates and the Guard go through the door.\n", "\n", "\t\t\t\t\tGUARD\n", "\t\t\tClose Nine.\n", "\n", "\tThey move forward together.\n", "\n", "\t\t\t\t\tGUARD\n", "\t\t\t\t\t (continuing)\n", "\t\t\tIt's Number Twenty-two... You want\n", "\t\t\tcompany?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNo, no thanks.\n", "\n", "\tThe Guard shrugs, stays by the door.\n", "\n", "\tCATES\n", "\n", "\tHe walks down the cell block. Inmates stare at him from\n", "\tinside the stark cells. They don't know who he is, but they\n", "\tcan smell a cop. Cates stops at Twenty-two, looks inside...\n", "\ta bit startled. Obviously, Reggie Hammond has connections and\n", "\ttaste. The paint is fresh; there's framed prints on the wall\n", "\tinstead of pin-ups, and the overall feeling is that of a\n", "\tgraduate school dorm rather than a prison. Cates turns, nods\n", "\tto the Guard at the end of the cell block. He throws a switch\n", "\tand the door opens.\n", "\n", "\tHAMMOND'S CELL\n", "\n", "\tCates steps inside. Hammond is at a table wearing a Sony\n", "\tWalkman and writing in some detailed ledgers with a fountain\n", "\tpen. He's boogeying in his seat to the music. Sprawled on a\n", "\tbunk nearby is LEROY, another black inmate close to Hammond's\n", "\tage. Leroy is leafing through a copy of a skin magazine. He\n", "\tdoesn't even look at Cates.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHammond.\n", "\n", "\tCates steps inside the cell.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tHammond!\n", "\n", "\tNo answer. Cates leans over, hits the override button on the\n", "\tSony.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tHammond!\n", "\n", "\tHammond jumps, grabs his ears in pain ... He pulls the\n", "\theadset off and glares at Cates.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou got a name, cop?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tTry Cates. And let's talk in\n", "\t\t\tprivate, okay?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tSure, anything you want.\n", "\n", "\tHe tosses the Walkman to Leroy who dutifully puts it on.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLook, convict, I know all about\n", "\t\t\tyou. Single. No fixed address. No\n", "\t\t\tknown relatives.\n", "\n", "\t\t\tOne previous conviction. Armed\n", "\t\t\trobbery... six months to go on a\n", "\t\t\tthree-year sentence.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou here to write my life story?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNot likely, Reggie. Maybe I just\n", "\t\t\tneed some help.\n", "\n", "\tCates takes the forensic photo out of his pocket, passes it\n", "\tacross the table to Hammond. He looks at it, hardly reacts.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHenry Wong... My old pal. He's\n", "\t\t\tlooked better...\n", "\n", "\tHe passes the photo back.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tLook, I got just six months before\n", "\t\t\tgettin' out of here. Six months\n", "\t\t\tbetween me and freedom after bein'\n", "\t\t\there three years... And I'm not\n", "\t\t\tgonna do anything to screw it up,\n", "\t\t\tincludin' pee in the prison yard,\n", "\t\t\tknock up the Warden's daughter or\n", "\t\t\trat on my old partners...\n", "\n", "\tCates swings the cell door back open.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tToo bad, Reggie. I thought maybe\n", "\t\t\tyou were a smart boy. But I guess\n", "\t\t\tif you were real smart you\n", "\t\t\twouldn't be a convict.\n", "\n", "\tHe smiles, decides to play his card.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tI can see a second-rater like you\n", "\t\t\twouldn't be any help at all goin'\n", "\t\t\tup against a real hard case like\n", "\t\t\tGanz.\n", "\n", "\tHammond jerks his head around.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tGanz?\n", "\n", "\tPause.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tGanz the one who shot Henry?\n", "\t\t\tCates, I asked you a question...\n", "\n", "\tCates smiles.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, I noticed...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tGanz is in jail. He's gonna be\n", "\t\t\tthere two years after I'm on the\n", "\t\t\tstreet.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tDidn't work out that way. He\n", "\t\t\tbusted out with a big Indian.\n", "\t\t\tThey capped two guards on a road\n", "\t\t\tgang. Nice meeting you Reggie.\n", "\n", "\tHe turns, goes out. The door clangs behind him. Hammond jumps\n", "\tup and bangs on the bars, shouts at Cates' back...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tCates, Come back here.\n", "\n", "\tCates turns, saunters back, leans against the door.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI can deliver Ganz. But you gotta\n", "\t\t\tget me outta here first.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou're crazy.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI can help you, man, but you gotta\n", "\t\t\tget me out. I got to be on the\n", "\t\t\tstreet. Get me outta here.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat's the big deal about you\n", "\t\t\tbein' on the street?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI got a lot to protect.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tBullshit.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIt's the only way you're gonna get\n", "\t\t\tGanz.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'll think about it.\n", "\n", "\tTRANSITION.\n", "\n", "\tCates typing several of official looking documents while\n", "\tseated across from a rather dour-looking bureaucrat named BOB.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLet me borrow your pen, Bob.\n", "\n", "\tHanded over by Bob.\n", "\n", "\t\t\t\t\tBOB\n", "\t\t\tYou going to use your own name?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tShit, no.\n", "\n", "\t\t\t\t\tCANDY\n", "\n", "\tHe begins signing the documents.\n", "\n", "\t\t\t\t\tBOB\n", "\t\t\tJack, just remember one thing. If\n", "\t\t\tall this comes down, you don't\n", "\t\t\tknow me. I'm not gonna burn for\n", "\t\t\tyou. And I'll tell you something\n", "\t\t\telse. If it all comes down, your\n", "\t\t\tass is new-mown grass.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tRight. Hey, no sweat.\n", "\n", "\tHe hands over the papers. Smiles.\n", "\n", "\t\t\t\t\tBOB\n", "\t\t\tBOB You got him for 48 hours.\n", "\n", "\tBob studies the sheet.\n", "\n", "\t\t\t\t\tBOB\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou got a big career as a forger\n", "\t\t\tif you decide to go that way,\n", "\t\t\tJack... I'll ring security.\n", "\n", "\tTRANSITION.\n", "\n", "\tPROCESS ROOM - PRISON - DAY\n", "\n", "\tThe GUARD leads Hammond to a steel cage. Harmnond's now\n", "\twearing a beautifully tailored plaid suit.\n", "\n", "\tThe Guard shouts to ANOTHER GUARD on the far side.\n", "\n", "\t\t\t\t\tGUARD\n", "\t\t\tPrisoner G21355 ... Hammond.\n", "\n", "\t\t\t\t\tSECOND GUARD\n", "\t\t\tOkay. Send him through.\n", "\n", "\tThe gate slides open. The Guard geztures for Hairmond to\n", "\tenter. Hammond walks to the far side of the pen. The first\n", "\tgate closes, the second one opens.\n", "\n", "\tHammond turns and walks over to Cates. The Guard comes up to\n", "\tCates, double checks his orders then unlocks Hammond's cuffs.\n", "\n", "\t\t\t\t\tGUARD\n", "\t\t\tGotta sign for him.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSure thing...\n", "\n", "\tHe looks over at Hammond who smiles at him. Then looks at\n", "\tHarmond's clothes...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThis prison gives out $400 suits?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhat are you talkin' about? This\n", "\t\t\tsuit's mine. It cost $900.\n", "\n", "\tHammond dusts off a sleeve.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWe're supposed to be after a\n", "\t\t\tkiller, not a string of hookers...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tListen, it may be a little out of\n", "\t\t\tdate. You know, I got a reputation\n", "\t\t\tfor lookingreal sharp with the\n", "\t\t\tladies...\n", "\n", "\tCates hands some papers to the Guard.\n", "\n", "\t\t\t\t\tGUARD\n", "\t\t\tHe's all yours.\n", "\n", "\tThe Guard walks away as Hammond feels Cates' lapel.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWe could change this for something\n", "\t\t\tgood...Get you lookin' sharp for\n", "\t\t\tpussy.\n", "\n", "\tCates gives him a look.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't need to hear your jive. I\n", "\t\t\talready got that department taken\n", "\t\t\tcare of...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou got a girl... shit... the\n", "\t\t\tgenerosityof women never ceases to\n", "\t\t\tamaze me.\n", "\n", "\tCates slaps a cuff on Hammond's outstrethand, then puts the\n", "\tother on his own wrist.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tHey, no way. Take off the\n", "\t\t\tbracelets or no deal.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou just don't get it, do your\n", "\t\t\tReggie? There isn't any deal. I\n", "\t\t\town your ass.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo way to start a partnership.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tGet this. We ain't partners. We\n", "\t\t\tain't brothers. We ain't friends.\n", "\t\t\tI'm puttin' you down and keepin'\n", "\t\t\tyou down until Ganz is locked up\n", "\t\t\tor dead. And if Ganz gets away,\n", "\t\t\tyou're gonna be sorry we ever met.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tShit. I'm already sorry.\n", "\n", "\tCates yanks on the cuffs. They move away.\n", "\n", "\t\t\t\t\t?\n", "\t\t\tTRANSITION.\n", "\n", "\tOUTSIDE THE JAIL - DAY\n", "\n", "\tCATES LEADS HAMMOND OUT. THEY HEAD FOR CATES' BATTERED\n", "\tCADILLAC.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThis your car, man?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIt looks like you bought it off\n", "\t\t\tone of the brothers.\n", "\n", "\tAs they approach the car...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tOkay, let's get down to it. I did\n", "\t\t\tmy part and got you out. So now\n", "\t\t\tyou tell me where we're goin'?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tDon't worry, I got a move for ya.\n", "\t\t\tAn awesome move. A guy named\n", "\t\t\tLuther. Ganz'll be paying him a\n", "\t\t\tvisit. We go to him right away.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLuther was part of the gang?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhat gang you talkin' about, Jack?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI can read a police file,\n", "\t\t\tshithead, and quit calling me Jack.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tJust an expression man, don't mean\n", "\t\t\tnothin'.\n", "\n", "\tCates gets behind the wheel and kicks the engine over.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't give a damn. It happens\n", "\t\t\tto be my name.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThen what're you complainin'\n", "\t\t\tabout? At least nobody's calling\n", "\t\t\tyou shithead....\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI may call you worse than that.\n", "\n", "\tCates drives off.\n", "\n", "\tEXT. STREET - MISSION DISTRICT - DAY\n", "\n", "\tCates' Cadillac purrs into view, entering a deserted street\n", "\twithin a rundown neighborhood.\n", "\n", "\tINT. CADDY\n", "\n", "\tHammond seated next to Cates.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tJust up the street, the other\n", "\t\t\tside, over there ... Now, don't\n", "\t\t\tbother knockin' on the door.\n", "\t\t\tLuther ain't the kind of guy that\n", "\t\t\tlooks for company.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYour pal nuts enough to take a\n", "\t\t\tshot at me?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tLuther ain't the reliable type. I\n", "\t\t\tdon't want you shot yet, Cates ...\n", "\t\t\tnot before you been a help to me.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'm helpin' you, huh?\n", "\n", "\tHammond smiles.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYeah. Didn't you know that?\n", "\n", "\tSTREET\n", "\n", "\tThe Caddy pulls to a stop.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tOver there...232...\n", "\n", "\tCates double-checks his .38.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou better let me borrow one of\n", "\t\t\tthose.\n", "\n", "\tCates smiles.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSure thing, asshole.\n", "\n", "\tHandcuffs Hammond to the door handle. Grabs the car keys.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou just hang on. And hope this\n", "\t\t\tbig move of yours turns out to be\n", "\t\t\tsomething. Opens the car door.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\n", "\tLUTHER'S VICTORIAN\n", "\n", "\tCates knocks at the door. Nothing. Knocks again ... no\n", "\tresponse.. From inside, he hears a faint noise but no\n", "\tresponse to the knock. Holding the .38 in one hand, Cates\n", "\ttries the knob with the other. The door opens. Cautiously,\n", "\tCates steps inside.\n", "\n", "\tINT. LUTHER'S VICTORIAN\n", "\n", "\tLong corridor ahead. No sign of Luther.\n", "\n", "\tCATES\n", "\n", "\tMoves down the corriaor, checks the rooms off to one sides.\n", "\n", "\tLUTHER LUTHER\n", "\n", "\tslips into the hallway behind Cates... Cates turns just as he\n", "\tgets to the kitchen. Luther holds a gun. Cates drops to a\n", "\tcrouch and aims the .38. Luther whirls and fires at Cates. As\n", "\twood and plaster fly out all round him, Cates makes a running\n", "\tdive for the floor. Luther runs out before Cates has\n", "\tregainehis feet.\n", "\n", "\tSTREET\n", "\n", "\tLuther rushes out the front door and heads toward the\n", "\tCadillac.\n", "\n", "\tHAMMOND\n", "\n", "\tWatches as Luther heads down the sidewaltoward him. As he\n", "\tstarts to pass by... Hammond steps out suddenly... Flattens\n", "\thim with the car door. Luther drops, stunned. Hammond, still\n", "\trestricted by being cuffed to the door handle, reaches and\n", "\tgrabs his pistol.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHammond, Drop the Goddamn gun.\n", "\n", "\tHammond looks up. He sprints across the pavement. Aims his\n", "\tgun at Hammond.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tQuit playin' cop and undo this\n", "\t\t\tcuff, Jack, I need to talk to this\n", "\t\t\tman.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'm tellin' you to drop the Goddam\n", "\t\t\tgun.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI got a whole thing about people\n", "\t\t\tpointin' guns at me.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tJust throw me the Goddamn gun.\n", "\n", "\tLong moment. Then Hammond smiles and tosses him Luther's\n", "\tpistol. Luther groans. Cates puts his foot on Luther's belly\n", "\tand pulls himself into a standing position, cuffs him.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tLuther, I always told you the\n", "\t\t\tphysical side of life wasn't your\n", "\t\t\tgig. Look at you, all messed\n", "\t\t\tup... Course you never were much\n", "\t\t\tin the snappy dresser department,\n", "\t\t\twere you?\n", "\n", "\tCates now has Luther ready to be questioned.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tCome on, talk to him.\n", "\n", "\tHammond turns to smile at Luther.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhat's happening, Luther?\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tI thought you were inside...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMeet my travel Agent.\n", "\n", "\tLuther leans forward, looks straight at Cates.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tA cop...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI sure ain't his fairy\n", "\t\t\tgodmother... now I'm looking for\n", "\t\t\tGanz...where is he?\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tHaven't seen him for years. That's\n", "\t\t\tthe truth.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou just took a shot at me,\n", "\t\t\tasshole. I think you do know where\n", "\t\t\the is.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tWho gives a fuck what you think?\n", "\n", "\tCates grabs the still open Cadillac door, slams it into\n", "\tLuther. He falls backwards. Cates looks at Hammond.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHey, this works pretty good.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThank you.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWant to try it again?\n", "\n", "\tLuther sits up again, glares at Cates.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tGanz and Billy got my girl,\n", "\t\t\tRosalie.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI think I met her. Now tell us\n", "\t\t\tsomething we don't know, like\n", "\t\t\twhere they stashed her.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tI don't know.\n", "\n", "\tCates slams the car door agains him again.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI gotta tell you he's having a\n", "\t\t\tball with this car door, Luther...\n", "\t\t\tYou'd better think of somethin' to\n", "\t\t\ttell him.\n", "\n", "\tLuther besitates...flashes a look at Hammond, who sends him\n", "\ta silent fleeting reply. Maybe Cates sees this. Maybe not.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tHe ... he wants me to help him\n", "\t\t\tskip town.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhen? How?\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tI dunno ... he's gonna call me...\n", "\n", "\tAnother look at Hammond.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\t\t\t (continuing)\n", "\t\t\tHe's gonna call me on...Tuesday.\n", "\n", "\tSomething's wrong with all this. Cates isn't sure just what.\n", "\tNot yet. He looks at Hammond.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat do you think?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI think you better put him on ice,\n", "\t\t\tman.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHe's gotta take that call ... if\n", "\t\t\tthere is one.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIf you let him run around till\n", "\t\t\tTuesday, he's gonna run right to\n", "\t\t\tGanz and warn him. Ain't you,\n", "\t\t\tmotherfucker?\n", "\n", "\tLuther makes a play toward Hammond, who laughs, doesn't even\n", "\tflinch.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tLuther, are you angry with me?\n", "\n", "\tCates wrestles Luther into the back seat, turns to Hammond.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't know what the hell you're\n", "\t\t\tsmiling about, watermelon. Your\n", "\t\t\tbig move turned out to be shit.\n", "\n", "\tHAMMOND Just stares at Cates, keeps smiling...\n", "\n", "\tTRANSITION.\n", "\n", "\tBOOKING - POLICE PRECINCT - NIGHT\n", "\n", "\tTwo Uniforms follow a sullen Luther, Cates and Hammond to the\n", "\tDUTY SERGEANT... Cates speaks to him through the small\n", "\twindow.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tAssault on a police officer with\n", "\t\t\ta deadly weapon. Carrying a\n", "\t\t\tconcealed weapon. Resisting\n", "\t\t\tarrest, Disturbing the peace.\n", "\t\t\tPublic nuisance...\n", "\n", "\tThe Sergeant begins typing out an arrest form.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tI'll think up a few more and file\n", "\t\t\tthe report tomorrow.\n", "\n", "\tCates looks back at Hammond as Luther is hauled away.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tCome on, I gotta make a phone call.\n", "\n", "\tAs they move through the honeycomb of office partitions.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou stay with me.\n", "\n", "\tCates picks up the phone on the other side of the booking\n", "\tdesk. Dials ... waits for a response as TWO HOOKERS are led\n", "\tpast by an Arresting Officer. Hammond gives them the eye.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThis is Jack Cates. Any messages?\n", "\n", "\tELAINE'S APARTMENT\n", "\n", "\tElaine is on the kitchen phone, speakingwhite putting her\n", "\tcoat on over her uniform for the evening. One look at the\n", "\tway it is cut and you know why she hates her job.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tJust one. Some lady called. Said\n", "\t\t\tshe's a little hot-headed\n", "\t\t\tsometimes... But she still wants\n", "\t\t\ther occasional roommate. She'd\n", "\t\t\tlike to talk it over after she\n", "\t\t\tgets off work tonight... if it's\n", "\t\t\thumanly possible....\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tElaine, look, I'm in the middle of\n", "\t\t\tsone stuff right now... I'm not\n", "\t\t\tgonna have time to come by. I\n", "\t\t\tdon't know when I can get there.\n", "\n", "\tHer face falls. Making the offer was hard enough.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tCome on, Jack ... you're making me\n", "\t\t\twork too Goddamn hard at this...\n", "\n", "\tJack is very irritated by this turn of events.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tListen, Goddamn it if you think\n", "\t\t\tI'm happy about it, you're nuts.\n", "\t\t\tI just gotta take care of a few\n", "\t\t\tthings, okay?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tThis is not the way people who\n", "\t\t\tcare for each other are supposed\n", "\t\t\tto behave.\n", "\n", "\tCates says nothing. She hangs up angrily.\n", "\n", "\tBOOKING\n", "\n", "\tHammond is working on the girls.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tExcuse me, ladies, you seem to be\n", "\t\t\tin need of assistance.\n", "\n", "\t\t\t\t\tHOOKER TWO\n", "\t\t\tLook, we got enough problems, we\n", "\t\t\tdon't need no tight-ass court-\n", "\t\t\tappointed lawyer trying to\n", "\t\t\tbullshit us!\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tSweetheart, I'm not trying to\n", "\t\t\tbullshit you. I don't know whether\n", "\t\t\tor not you ladies heard but the\n", "\t\t\tcity is coming down real hard on\n", "\t\t\tpeople practicing unlawful carnal\n", "\t\t\tknowledge.\n", "\n", "\t\t\t\t\tHOOKER ONE\n", "\t\t\tSo what are you trying to say,\n", "\t\t\tfella?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI'm trying to say that you're not\n", "\t\t\tjust walk in that courtroom and\n", "\t\t\tget gonna slapped with a $50 fine\n", "\t\t\tand be back on the street turning\n", "\t\t\ttricks tonight. You both are going\n", "\t\t\tto do some time. About 30 days\n", "\t\t\teach... Unless, of course,we talk\n", "\t\t\treal business.\n", "\n", "\t\t\t\t\tHOOKER TWO\n", "\t\t\tSo where do you want to do it,\n", "\t\t\thoney? You wanna hop up on the\n", "\t\t\tcounter?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo, we can go to the back room.\n", "\n", "\tCates walks over and pulls him by the shoulder.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWe're on the move. Let's go. As\n", "\t\t\tthey walk toward a corridor.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tDo you know how close I was to\n", "\t\t\tgetting some trim. And you\n", "\t\t\tfucked' it up.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, well, my ass bleeds for you.\n", "\t\t\tAnd I didn't get you out so you\n", "\t\t\tcould go on a Goddamn \"trim\"\n", "\t\t\thunt... stop moaning.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tSpeakin' of moans my Stomach is\n", "\t\t\tstartin' to growl.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWe eat when I say we eat.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tBullshit ... I ain't moving till\n", "\t\t\tI get something to eat. You've\n", "\t\t\tbeen treating me like shit ever\n", "\t\t\tsince I came out here. If you\n", "\t\t\tdon't like it, you can take me\n", "\t\t\tback to the penitentiary and kiss\n", "\t\t\tmy hungry black ass good-bye. And\n", "\t\t\tI want some food some place nice..\n", "\t\t\tSome good people, nice music...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, I'm hungry too. I know of a\n", "\t\t\tplace. Let's go eat.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYeah, I want mandolins, flowers...\n", "\t\t\tThey move off down the corridor.\n", "\n", "\tTRANSITION.\n", "\n", "\tUNDERGROUND PARKING LOT - NIGHT\n", "\n", "\tINT. POLICE HEADQUARTERS\n", "\n", "\tCates and Hammond at a candy machine. Cates drops in a\n", "\tquarter, throws Hammond a candy bar...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThere's your God-damn dinner. Now,\n", "\t\t\tlet's go.\n", "\n", "\tThey move toward a row of parked cars.\n", "\n", "\tAT THE CADDY\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWho'd you call on the phone back\n", "\t\t\tat the booking station?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tJust get in the car and keep your\n", "\t\t\tmouth shut.\n", "\n", "\tHammond gets in the car as Cates readjusts Elaine's scarf on\n", "\tthe mirror.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMust of been your lady friend...\n", "\n", "\tCates frowns at him.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou really do have onoe, huh,\n", "\t\t\tJack... what's her problem besides\n", "\t\t\tyou?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tShe's got the same complaint as\n", "\t\t\thalf the Goddamn population. She\n", "\t\t\tcan't get the job she's trained\n", "\t\t\tfor and it pisses her off...\n", "\t\t\tAnyway, what the fuck do you care?\n", "\n", "\tCates climbs in behind the wheel of the Cadillac.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo, man, tell me about her. In\n", "\t\t\tjail they got me surrounded by\n", "\t\t\tguys wearin' blue suits twenty-\n", "\t\t\tfour hours a day. And I ain't\n", "\t\t\tbuilt for that. Really? With the\n", "\t\t\tclothes you got on you look like\n", "\t\t\tyou'd love it.\n", "\n", "\tCates takes a belt from his flask.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNow, where we goin', convict?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMission District. Gonna find us\n", "\t\t\tan Indian.\n", "\n", "\tCates starts the motor, slams it into gear. Accelerates out\n", "\tto the street.\n", "\n", "\tTRANSITION.\n", "\n", "\tEXT. CITY STREET NIGHT\n", "\n", "\tCates and Hammon booming along in the Caddy.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tCome on, Jack. I want to hear\n", "\t\t\tabout your girl. When were you\n", "\t\t\twith her last ... You get what I\n", "\t\t\tmean?\n", "\n", "\tSmiles. Cates smiles back at him, almost cruelly\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't give out the details.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tLast night, two nights ago, three?\n", "\n", "\tCates keeps smiling.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLast night.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou have a good time?\n", "\n", "\tPained expression on Cates' face as he comes back to reality.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSure. Then we had a fight this\n", "\t\t\tmorning.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tAt least you took care of business\n", "\t\t\tand got the important part in\n", "\t\t\tbefore she came down on you...Tell\n", "\t\t\tme a little about her. She got\n", "\t\t\tgreat tits?\n", "\n", "\tCates gives him a hard look.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI get the feeling it's going to be\n", "\t\t\treal long night.\n", "\n", "\tThey keep driving.\n", "\n", "\tTRANSITION.\n", "\n", "\tMISSION DISTRICT - STREET - NIGHT\n", "\n", "\tThe Cadillac drives slowly past a bar called Torchie's.\n", "\tStops at the end of the block.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWell?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIt's a long shot, but...Billy used\n", "\t\t\tto tend bar here a few years back.\n", "\t\t\tI heard him talk about it.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThis part of town, they'll make us\n", "\t\t\tfor heat the second we walk in.\n", "\t\t\tJust back me up like you've got a\n", "\t\t\tpiece...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tBack you up? Now why would I\n", "\t\t\twanna do that?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tIf they kick my ass, they'll sure\n", "\t\t\tas hell carve yours up...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tBut you can handle it all right,\n", "\t\t\thuh? Real amazin' how far a gun\n", "\t\t\tand a badge can carry some cats...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tBullshit. Attitude and experience\n", "\t\t\tget you through...\n", "\n", "\tCates and Hammond step out, glance toward the bar.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI been in a lot of bars where a\n", "\t\t\twhite cop rousted me and some of\n", "\t\t\tthe brothers. All those clowns\n", "\t\t\tever had going for 'em was a gun\n", "\t\t\tand a badge...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou need five years training to\n", "\t\t\thandle a joint like...\n", "\n", "\tHamnond's had enough of this debate.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHey, you wanna bet?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI got two problems. Number one,\n", "\t\t\tI'm not playin' games. Number\n", "\t\t\ttwo, you got nothin' to bet with.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIf we come outta this joint with\n", "\t\t\tGanz' phone number, or a dead\n", "\t\t\tIndian, or anything else useful,\n", "\t\t\tthen you could turn the other way\n", "\t\t\tfor half an hour while I get\n", "\t\t\tlaid...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhy? Anybody that talks about\n", "\t\t\twomen as much as you do probably\n", "\t\t\tcan't get it up anyway.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThat's never been one of my\n", "\t\t\tproblems.\n", "\n", "\t\t\tNow, stop stallin', man, or else\n", "\t\t\tadmit all this professional stuff\n", "\t\t\tyou're talkin' about is a crock of\n", "\t\t\tshit.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'll tell you what happens if you\n", "\t\t\tlose... you tell the truth for\n", "\t\t\tonce.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhat are you talkin' about?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou tell me what Ganz busted out\n", "\t\t\tfor, he's after a lot more than\n", "\t\t\tjust gettin' out of jail. And\n", "\t\t\twhatever it is, you're part of it.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI don't know what you're talking\n", "\t\t\tabout. I just wanna see Ganz\n", "\t\t\tnailed.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThe bet's off.\n", "\n", "\tHammond thinks it over..\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tOkay, if I lose, I'll tell you\n", "\t\t\tanything you want to know...\n", "\n", "\tCates reaches into his pocket.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'm gonna enjoy this ... here,\n", "\t\t\tI'll even loan you my badge.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI thought you said bullshit and\n", "\t\t\texperience are all it takes.\n", "\n", "\tHe takes the badge anyway as they head for the entrance.\n", "\n", "\tTORCHIE'S WESTERN BAR\n", "\n", "\tThey step inside. Hammond reacts to...\n", "\n", "\tREDNECK CITY\n", "\n", "\tLonghorns mounted over the bar, Rebel Flags, Lone Star Beer,\n", "\tarmadillo posters. Even the waitresses wear Stetsons.\n", "\tRockabilly pounding from the jukebox. A Cowgirl Stripper is\n", "\tdoing the grind on a small podium.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThis place don't seem real popular\n", "\t\t\twith the brothers.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMy kind of place. I always liked\n", "\t\t\tcountry boys.\n", "\n", "\tCates smiles, finds a table in the corner. A Cowgirl comes\n", "\tover to take his order.\n", "\n", "\tHAMMOND\n", "\n", "\tTakes a deep breath, moves toward the bar. Smiles at the good\n", "\tol' boys. They don't smile back. He sits down at the bar.\n", "\n", "\t\t\t\t\tBARTENDER\n", "\t\t\tYeah.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tVodka.\n", "\n", "\t\t\t\t\tBARTENDER\n", "\t\t\tMaybe you better have a Black\n", "\t\t\tRussian.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo, man, I think I'll have a vodka.\n", "\n", "\tHamnond looks around the room.\n", "\n", "\tTHE BARTENDER\n", "\n", "\tplaces a glass in front of him, picks up the dollar as\n", "\tHarmond flashes Cates' shield.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou know a big Indian named Billy\n", "\t\t\tBear? He used to work here.\n", "\n", "\tThe Bartender shakes his head, gives him a scowl.\n", "\n", "\t\t\t\t\tBARTENDER\n", "\t\t\tNever heard of him.\n", "\n", "\tHammond lifts the shot glass and throws it through the mirror\n", "\tbehind the bar. Sudden silence throughout the room.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNow how's your memory doin'?\n", "\n", "\t\t\t\t\tBARTENDER\n", "\t\t\tFuck off. I don't know what the\n", "\t\t\thell you're talkin' about.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMaybe I better ask around, see\n", "\t\t\twhat your pals think.\n", "\n", "\t\t\t\t\tBARTENDER\n", "\t\t\tI don't give a shit who you ask.\n", "\n", "\tThe Bartender walks down toward Cates.\n", "\n", "\tHAMMOND\n", "\n", "\tMoves away from the bar. He stops at a booth occupied by\n", "\n", "\tFOUR COWBOY PUNKS,\n", "\n", "\tone a very big man. Hammond grabs him by the arm and pulls\n", "\thim up.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tUp against the wall, cowboy.\n", "\n", "\tThe Punk breaks free, aims a massive haymaker at Hammond.\n", "\tGets a right to the stomach for his trouble.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tNow, I said get over there by that\n", "\t\t\twall ... You hear me,\n", "\t\t\tmotherfucker...\n", "\n", "\tLooks at the others.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tMove it, rednecks. On your feet...\n", "\n", "\tHe grabs the next by the arm, yanks him up.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tOver there...move your ass. Some\n", "\t\t\tof you rednecks seem a little hard\n", "\t\t\tof hearing, so I'll repeat it for\n", "\t\t\teverybody... I need word on the\n", "\t\t\twhereabouts of an Indian that goes\n", "\t\t\tby the name of Billy Bear. It's a\n", "\t\t\tpolice matter and you all look\n", "\t\t\tlike you'd just love to\n", "\t\t\tcooperate...\n", "\n", "\tCATES Quietly sips his beer. The other occupants of the bar\n", "\twatch Hammond herd the four Punks to the end wall.\n", "\n", "\tA BIG COWBOY\n", "\n", "\twhen Hammond isn't looking, he dashes toward the exit, Cates\n", "\tputs out a leg. Sends the Cowboy crashing into a crowdedtable.\n", "\n", "\tHAMMOND\n", "\n", "\tTurns around at the noise.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThat wasn't necessary, buddy. I\n", "\t\t\tgot this under control.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSome of us citizens are with you\n", "\t\t\tall the way, Officer.\n", "\n", "\tThe Redneck Punks are now spread-eagled against the wall.\n", "\tHammond searches the first. He drops a wallet on the floor\n", "\tand moves to the second. A switchblade, some credit cards and\n", "\tanother wallet fall to the floor. The last Punk has only a\n", "\troll of bills. Hammond holds the money up to his face.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou're in trouble, big trouble, so\n", "\t\t\tyou better start talking. Where'd\n", "\t\t\ta boy like you make a score like\n", "\t\t\tthis?\n", "\n", "\t\t\t\t\tPUNK\n", "\t\t\tIt's mine, what the hell...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou must a rolled somebody. They\n", "\t\t\tdon't let punks like you take jobs\n", "\t\t\tthat pay this much ... you sure\n", "\t\t\tyou don't know a dangerous Indian,\n", "\t\t\tbecause unless you start talkin'\n", "\t\t\tI may just have to start looking\n", "\t\t\tdown your pants with a\n", "\t\t\tflashlight...\n", "\n", "\t\t\t\t\tPUNK\n", "\t\t\tWhat kind of cop are you, anyway?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI am your most terrible nightmare\n", "\t\t\t... a bad nigger with a badge that\n", "\t\t\tentitles him to kick your ass...\n", "\n", "\tHammond turns to the Bartender...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tOne of them is under-age. Another\n", "\t\t\tattacked a police officer. And you\n", "\t\t\tknow I ain't found what I came\n", "\t\t\tlookin' here for yet...\n", "\n", "\tWalks back to the Bartender.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThe tall one had a weapon ... you\n", "\t\t\twant me to keep on makin' a list,\n", "\t\t\tor you got the picture yet?\n", "\n", "\tHe reaches for a towel under a pyramid of bar glasses. Jerks\n", "\tthe towel, the pyramid capsizes onto the floor. Huge crash as\n", "\tthe glasses break into a million fragments.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tLooks like you're on your way to\n", "\t\t\tbein' outta business, redneck...\n", "\t\t\tNow, let's see what can we fuck\n", "\t\t\twith next?\n", "\n", "\tThe Bartender doesn't have the look of a happy man.\n", "\n", "\t\t\t\t\tBARTENDER\n", "\t\t\tOkay, okay. The Indian hangs out\n", "\t\t\twith a girl down the block. Right\n", "\t\t\twhere Chinatown starts. She lives\n", "\t\t\ton top of the hardware store.\n", "\n", "\tHammond turns, grins at Cates. As far as he's concerned, he's\n", "\twon the bet. Cates nods, slips out the door.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI don't give a damn about his\n", "\t\t\tgirl...\n", "\n", "\t\t\t\t\tBARTENDER\n", "\t\t\tLook, give me a break, you're\n", "\t\t\tgoing to have to settle for her\n", "\t\t\tplace. It's the only thing I know.\n", "\n", "\tHe looks desperate.\n", "\n", "\t\t\t\t\tBARTENDER\n", "\t\t\t\t\t (continuing)\n", "\t\t\tI'm tellin' ya, I'm giving you all\n", "\t\t\tI know.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tTry obeyin' the law once in\n", "\t\t\tawhile, and I won't have to hassle\n", "\t\t\tyou...\n", "\n", "\tTurns to go, then turns back.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tBut remember this, cowboy, there's\n", "\t\t\ta new sheriff in town.\n", "\n", "\tSmiles, turns and goes.\n", "\n", "\tTRANSITION.\n", "\n", "\tSTREET - ACROSS FROM TORCHIE'S - NIGHT\n", "\n", "\tHammond steps out of the bar. He crosses to Cates by the car.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI think you got something for me.\n", "\n", "\tPause.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThe gun you took off that redneck\n", "\t\t\tin there.\n", "\n", "\tHammond smiles.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou made that move, huh?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhile you're at it, You can give\n", "\t\t\tme the switchblade, too.\n", "\n", "\tHammond reluctantly takes out a .22 automatic, slams it down\n", "\ton the hood of the car.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tCredit cards?\n", "\n", "\tHammond hands them over with the knife.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou already got a gun and you owe\n", "\t\t\tme a piece of ass. I'll settle\n", "\t\t\tfor the gun you just took.\n", "\n", "\tA long moment. Then Cates slowly lifts the .22 automatic.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou did a real good job... Guess\n", "\t\t\tyou deserve a reward.\n", "\n", "\tRemoves the clip. Throws it across the street. Hands Hammond\n", "\tthe automatic.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMotherfucker.\n", "\n", "\tHe throws the gun away.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI sure am. Now let's go get us an\n", "\t\t\tIndian.\n", "\n", "\tThey walk up the block.\n", "\n", "\tTRANSITION.\n", "\n", "\tSTREET - CHINATOWN - NIGHT\n", "\n", "\tNeon signs with Sino lettering.\n", "\n", "\tCATES AND HAMMOND\n", "\n", "\tWalk down the street, spot a shop with a window display of\n", "\ttools. Look up at the darkened apartment windows. They walk\n", "\tto the end of the block.\n", "\n", "\tALLEY\n", "\n", "\tStairwells lead to each apartment above the shops. Cates and\n", "\tHammond move along the buildings... Arrive at the back of the\n", "\thardware store. Quietly, they start to ascend the stairs.\n", "\n", "\tSTAIRWELL\n", "\n", "\tThe metal steps extend onto a platform by the back door.\n", "\tCates leans over the railings to look through the adjacent\n", "\twindow. Between the drawn curtains, a flickering glimmer from\n", "\ta TV set. On the tube, various poses from stridently\n", "\texercising women.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhat the shit is that?\n", "\n", "\tLooks again. A female form passes by, goes out of the room.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThere.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMust be billy's girl.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tCome on.\n", "\n", "\tDOORWAY\n", "\n", "\tCates gestures to the door lock. Hammond fiddles with it for\n", "\tseveral moments. The door swings open. They step into a\n", "\tdarkened room.\n", "\n", "\tAPARTMENT\n", "\n", "\tCates takes the .38 from his pocket. He stops near the open\n", "\tbedroom doorway. He looks at Hammond and then both men step\n", "\tquickly into the room.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tPolice! Nobody move!\n", "\n", "\tHammond reaches for the light switch. Takes a heavy blow.\n", "\tSlumps against the door. A Woman's voice screams out.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tStay where you are!\n", "\n", "\tThe light goes on. Cates' gun points at a YOUNG WOMAN (CASEY)\n", "\tin a flimsy dressing gown. Saturday Night Special held\n", "\tbetween her palms, police style... A SECOND WOMAN (SALLY)\n", "\tstands beside Hammond at the light switch. Larger and\n", "\tslightly older than the first, she wears a man's shirt. Holds\n", "\ta baseball bat in her right hand.\n", "\n", "\t\t\t\t\tSALLY\n", "\t\t\tYou better drop it or he's gonna\n", "\t\t\tget another one.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHey, talk to here jack. I don't\n", "\t\t\tfeel like gettin' number two along\n", "\t\t\tside of the head.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI said police. Now drop the\n", "\t\t\tgoddamn gun.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tDon't give me that police shit.\n", "\t\t\tYou drop it.\n", "\n", "\tPause.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tOkay, look, don't shoot. I'm just\n", "\t\t\treachin' for my badge.\n", "\n", "\tCates takes out his badge-Shows it to Casey.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tI don't like this bullshit. I've\n", "\t\t\tseen fake badges before.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI'll tell you something lady, this\n", "\t\t\tguy is a real nervous cop - He's\n", "\t\t\tjust liable to pull the trigger.\n", "\n", "\tCates takes two steps toward Casey...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNaw, I'm the calm type. I know\n", "\t\t\tyou don't want me to shoot you,\n", "\t\t\tand I know that you don't want to\n", "\t\t\tshoot me.\n", "\n", "\tHe takes two more steps toward her.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tShooting a cop puts you away for\n", "\t\t\ta long time.\n", "\n", "\tHolds out his hand.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tYou assholes better be real.\n", "\n", "\tShe hands Cates the gun. Sally prods Hammond with the\n", "\tbaseball bat.\n", "\n", "\t\t\t\t\tSALLY\n", "\t\t\tJust wait a Goddamn second here,\n", "\t\t\tlet's see your badge...\n", "\n", "\tHe snatches the bat out of her hands.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tDon't have one.\n", "\n", "\t\t\t\t\tSALLY\n", "\t\t\tI knew it. Call the cops.\n", "\n", "\tCasey walks over to the phone.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tTell them it's Cates, Detective\n", "\t\t\t31st District. Then put your\n", "\t\t\tclothes on. If you don't answer\n", "\t\t\tsome questions I'm taking both\n", "\t\t\tyour asses in.\n", "\n", "\tAfter a moment, Casey puts down the phone.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tNow, let's cut out the crap, which\n", "\t\t\tone of you sees Billy Bear?\n", "\n", "\t\t\t\t\tSALLY\n", "\t\t\tNone of your business, cop. The\n", "\t\t\tson of a bitch isn't here, and he\n", "\t\t\tisn't coming back.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou can do better than that.\n", "\n", "\tTurns to Casey.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tHow about it?\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tI used to go with him...I don't\n", "\t\t\tknow where the hell he is. I\n", "\t\t\thaven't seen him for two weeks.\n", "\t\t\tAnd I don't think I will. He owes\n", "\t\t\tme money...\n", "\n", "\t\t\t\t\tSALLY\n", "\t\t\tHe's a Goddamn lowlife, the way he\n", "\t\t\ttreated her.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSounds like a real stormy romance.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tI don't much care what it sounds\n", "\t\t\tlike to you, Cop. All I know is\n", "\t\t\tthat I went a few laps around the\n", "\t\t\ttrack with him and I ended up with\n", "\t\t\tnothin' but the short end of the\n", "\t\t\tstick.\n", "\n", "\tCates looks over at Hammond.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLet's go.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWait a minute. Maybe these ladies\n", "\t\t\twould like to go a few laps with\n", "\t\t\tus. How about it? I been nearly\n", "\t\t\tthree years in prison and...\n", "\n", "\t\t\t\t\tSALLY\n", "\t\t\tFuck off.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tCome on...\n", "\n", "\tHannond starts for the door with Cates.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tIf you find that bastard, Billy,\n", "\t\t\ttell him to stay out of my life.\n", "\t\t\tI don't need any more of his macho\n", "\t\t\tbullshit.\n", "\n", "\tTRANSITION.\n", "\n", "\tSTREET CHINATOWN - NIGHT\n", "\n", "\tThe two men walk among the bright neon lights. Neither of\n", "\tthem very happy.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThis sucks. A maniac gets hold of\n", "\t\t\tmy gun and goes all over the\n", "\t\t\tstreets killing people with it.\n", "\t\t\tSo, instead of me being where I\n", "\t\t\toughta be, which is in bed giving\n", "\t\t\tmy girl the high, hard one, I'm\n", "\t\t\tout here doing this shit, roaming\n", "\t\t\taround with some overdressed,\n", "\t\t\tcharcoal-colored loser like you.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou wanna leave, man? Let me take\n", "\t\t\tcare of Ganz all by myself.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou? Don't make me laugh. You\n", "\t\t\tcan't take care of shit. You've\n", "\t\t\tbeen dicking me around since we\n", "\t\t\tstarted on this turd-hunt. All\n", "\t\t\tyou're good for is games... So\n", "\t\t\tfar, what I got outta you is\n", "\t\t\tnothin'...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI'm impressed with you too, Jack\n", "\t\t\tyou did a real good job of busting\n", "\t\t\tup a couple of dykes bedded down\n", "\t\t\tfor the night.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLuther knew more than he told me\n", "\t\t\tand so do you...Now you better\n", "\t\t\ttell we what the fuck this is all\n", "\t\t\tabout. I gave you 48 hours to\n", "\t\t\tcome up with something and the\n", "\t\t\tclock's runnin' ...\n", "\n", "\tA long look at Hammond.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMaybe I don't like the way you ask.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWho gives a Goddamn what you\n", "\t\t\tthink? You're just a crook that's\n", "\t\t\tgot a weekendpass ... You're not\n", "\t\t\teven a name anymore. Just a spear-\n", "\t\t\tchucker with a Goddamn number\n", "\t\t\tstenciled on the back of his\n", "\t\t\tprison fatigues...\n", "\n", "\tThey walk past.\n", "\n", "\tTRANSITION.\n", "\n", "\tSTREET ACROSS FROM TORCHIE'S - NIGHT\n", "\n", "\tThey two men walk toward the Cadillac.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tOkay, Reggie, I'm done playing\n", "\t\t\taround. I want to know what's\n", "\t\t\tgoing on and I'm going to beat the\n", "\t\t\tliving shit out of you until you\n", "\t\t\ttell me.\n", "\n", "\tHammond goes into a street rap.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou beat the shit out of me?\n", "\t\t\tDon't make me laugh, sucker. You\n", "\t\t\tdon't know how I'd dance on your\n", "\t\t\tface? I'll hit you so hard, so\n", "\t\t\tmany times, you'll wish you'd\n", "\t\t\tnever been hatched. I'll turn\n", "\t\t\tyour face into cottage cheese.\n", "\t\t\tI'll make your girl think you been\n", "\t\t\ttakin' ugly pills. She won't even\n", "\t\t\tknow who you are, sucker.\n", "\n", "\tThey stop by the car. Cates takes the gun out, lays it on the\n", "\thood. Hammond stares at him. Cates next takes out his\n", "\twallet, shows Hammond his badge, then lays the badge on the\n", "\tcar fender... Smiles.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI guess the first thing I ought,\n", "\t\t\tto explain to you, nigger, is I\n", "\t\t\tfight dirty.\n", "\n", "\tHits Hammond a tremendous right hand full in the face.\n", "\tHammond sags, grabs onto the car fender for support. Cates\n", "\thesitates ... and Hammond kicks out, sending the partially\n", "\topen car door slamming into Cates. Cates sprawls.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tSo do I.\n", "\n", "\tHammond aims a kick at Cates' head. Cates blocks it with\n", "\tcrossed forearms, grabs, twists. Hammond tumbles, rolls away\n", "\tfrom Cates. Both men struggle to their feet, circle each\n", "\tother.\n", "\n", "\tHammond moves in only to receive twoquick blows from Cates,\n", "\ta bit sooner than he expected. Cates smiles.\n", "\n", "\tHammond dances in and out... Cates' breathing becomes more\n", "\tlabored. His windmill attack penetrates Cates' defense. Cates\n", "\tclears his head, charges, bull-like ... His rush and greater\n", "\tbulk send both of them crashing into some trash cans and a\n", "\tbrick wall.\n", "\n", "\tHammond is faster...\n", "\n", "\tCates is much stronger; Both men on their knees. They look at\n", "\tone another. Silently, they move to their feet. Hammond's\n", "\tback is to a wall... Cates keeps him there, negates the\n", "\tlighter man's agility. They slug away, each now arm-weary...\n", "\tExchange a dozen blows. Finally, Cates steps back, arms at\n", "\this side... Breath coming like a bellows...\n", "\n", "\tHammond has to hold on to the wall; one more punch would put\n", "\thim out.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNow, you bastard, you going to\n", "\t\t\ttell me what's going on...\n", "\n", "\tPuffing away.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\t... Do I have to kick the shit out\n", "\t\t\tof you some more.\n", "\n", "\tThey stand facing one another. Hammond smiles. A black-and-\n", "\twhite comes roaring up the street. Sirens howling, red lights\n", "\tflashing, it slides to a stop. TWO UNIFORMED COPS jump out,\n", "\tguns drawn.\n", "\n", "\t\t\t\t\tFIRST COP\n", "\t\t\tAll right, you two. Don't move.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNO, no...it's okay...I'm police.\n", "\n", "\t\t\t\t\tSECOND COP\n", "\t\t\tYeah, sure. Get your hands above\n", "\t\t\tyour head.\n", "\n", "\tHe keeps his gun trained on Cates,and Hammond.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMy gun and badge are over there.\n", "\t\t\tAnd I'm too fucking tired to raise\n", "\t\t\tmy hands...\n", "\n", "\tHammond rubs the side of his face. Cates falls back against\n", "\tthe patrol car. Still fighting for breath. The First Cop\n", "\tlifts Cates' wallet off the Cadillac and looks at his badge,\n", "\tshows it to the other cop.\n", "\n", "\t\t\t\t\tFIRST COP\n", "\t\t\tWhat the hell's going on here?\n", "\n", "\tCates walks over, pockets his gun.\n", "\n", "\t\t\t\t\tSECOND COP\n", "\t\t\tI've got a burglary call. Two\n", "\t\t\twomen say a couple of hoods broke\n", "\t\t\tinto their place posing as cops.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI was following a lead. We\n", "\t\t\trousted them... Go up and sweet\n", "\t\t\ttalk 'em. You can straighten it\n", "\t\t\tout.\n", "\n", "\tThe First Cop checks out Cates' badge and I.D.\n", "\n", "\t\t\t\t\tFIRST COP\n", "\t\t\tWhy don't you do it? We got\n", "\t\t\tbetter things to do than\n", "\t\t\tstraighten out your messes.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSo do I. I'll file a report\n", "\t\t\ttomorrow.\n", "\n", "\tThe First Cop takes out his book, starts writing. He's\n", "\tpissed.\n", "\n", "\t\t\t\t\tFIRST COP\n", "\t\t\tI gotta file a..Report tonight\n", "\t\t\tasshole...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tGoes with the territory.\n", "\n", "\tHe grabs Hammond and they head for the Cadillac.\n", "\n", "\tTRANSITION.\n", "\n", "\tALL-NIGHT GAS STATION\n", "\n", "\tCadillac parked behind the service area.\n", "\n", "\tRESTROOM\n", "\n", "\tHammond looks' up at his bruised face in the mirror, then\n", "\twashes up. Cates is one step ahead of him. He rolls up a\n", "\tpiece of the wet towel and inserts it over his bleeding gum.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tToo bad we got interrupted when we\n", "\t\t\tdid. I was getting ready to\n", "\t\t\tfinish you off.\n", "\n", "\tCates straightens up from the wash basin.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, right. You want to try\n", "\t\t\tagain?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNaw, you'd just call your pals\n", "\t\t\tback to bail you out one more time.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThey saved your ass, convict.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tOne thing's for sure, Jack.\n", "\t\t\tThat's how you'll tell the story.\n", "\n", "\tCates dries off his face, starts out of the washroom.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'll even put it in my report that\n", "\t\t\tway.\n", "\n", "\tThe door closes behind Cates. Hammond leans back toward the\n", "\tmirror, nudges a tooth with his finger.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMotherfucker.\n", "\n", "\tGAS STATION PARKING LOT\n", "\n", "\tCates leans on the Cadillac as Hammond emerges. Hammond\n", "\tstarts for the passenger side.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWait a minute.\n", "\n", "\tHammond stops.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou come clean or we're going to\n", "\t\t\tgo again. Right here, right now.\n", "\n", "\tPause.\n", "\n", "\tA long moment; Hammond decides be has no choice.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI been waiting a long time for\n", "\t\t\tsome money.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHow much?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHalf a million.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tJesus.\n", "\n", "\tHammond smiles his meanest smile.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHow's that for a number to give\n", "\t\t\tyou heart failure? Guess you might\n", "\t\t\tstart to get the picture after\n", "\t\t\tall. Mlaybe you're on the wrong\n", "\t\t\tside of the old law and order\n", "\t\t\tbusiness..\n", "\n", "\tCates is unmoved.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tJust tell me about the money.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMe and my bunch hit a dealer in\n", "\t\t\tthe middle of a sale. It's the\n", "\t\t\tkind of money nobody ever reports\n", "\t\t\tstolen. I was sittin' pretty,\n", "\t\t\tlivin' in the high cotton, then\n", "\t\t\tsomebody fingered me for another\n", "\t\t\tjob. ... Some psycho who's out\n", "\t\t\tthere capping people with some\n", "\t\t\tcop's gun.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHe's after your money.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou catch on real fast...Okay,\n", "\t\t\tJack, let's talk deal. How much of\n", "\t\t\tmy money you gonna let me keep?\n", "\n", "\tCates just looks at him.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWe split 50-50?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNot likely, convict.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou gonna let me keep any of it?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tDepends on how things work out. I\n", "\t\t\tbelieve in the merit system. So\n", "\t\t\tfar you haven't built up any\n", "\t\t\tpoints.\n", "\n", "\tHe smiles.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tOkay, from now on, I'm gonna be\n", "\t\t\treal good, Jack.\n", "\n", "\tCates smiles back.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhere's the money?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIn the trunk of a car. A lot\n", "\t\t\tbetter than under a mattress,\n", "\t\t\tright?\n", "\n", "\tCates smiles.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tRight, partner.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tGet this. We ain't partners. We\n", "\t\t\tain't brothers. We ain't friends.\n", "\t\t\tIf Ganz gets away with my money,\n", "\t\t\tyou're gonna be sorry we ever met.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah. Right.\n", "\n", "\tThey get into the Caddy. Boom away.\n", "\n", "\tTRANSITION.\n", "\n", "\tThe Cadillac moving through the city... Clock on the\n", "\tdashboard showing 4 a.m. Cates at the wheel.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWhere's the goddamn car?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou're a real case, you know that,\n", "\t\t\tJack?\n", "\n", "\tSmiles.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThis'll show you how smart I am.\n", "\t\t\tI got it parked.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t...For three years? Let's hope it\n", "\t\t\twasn't a tow-away zone.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou just drove by it.\n", "\n", "\tThe Cadillac makes a screeching U-turn,i swings into the curb.\n", "\n", "\tCates leans out, looks at...\n", "\n", "\tPARKING BUILDING\n", "\n", "\tNarrow, multi-storied, with a garage-like opening and\n", "\tsignals... proclaiming 'Weekly-Monthly-Long Term.\"\n", "\n", "\tCADILLAC\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tOkay, now what?\n", "\n", "\tHammond gets out of the car.\n", "\n", "\tStands on the sidewalk.\n", "\n", "\tStretches.\n", "\n", "\tThen gets into the back seats.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tSince you're wired on benniest you\n", "\t\t\tget to stay up and stare at the\n", "\t\t\tbuilding. I'm tired, so I'm going\n", "\t\t\tto sleep. They take Sunday off.\n", "\t\t\tPlace opens at seven o'clock\n", "\t\t\tMonday morning. Wake me up at a\n", "\t\t\tquarter till...\n", "\n", "\tCates stares at the place.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou son of a bitch. You knew where\n", "\t\t\tthe money was all along and all we\n", "\t\t\thad to do was come here and wait.\n", "\t\t\tI almost got my ass blown off\n", "\t\t\ttwice tonight for nothing.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI wasn't sure the money was still\n", "\t\t\tthere until we saw Luther. You\n", "\t\t\talmost got your ass shot off for\n", "\t\t\tnothing once, not twice, Jack.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tShit.\n", "\n", "\tTHE CITY\n", "\n", "\tBeyond the skyline, grey streaks of dawn etch the sky.\n", "\n", "\tTRANSITION.\n", "\n", "\tThe Cadillac is pulled up facing the streets down the block\n", "\tfrom the parking sections Cates walks in through the lot\n", "\tentrance. Threads his way between the lines of parked\n", "\tvehicles Tired and haggard, he carries a paper bag filled\n", "\twith quick-order food.\n", "\n", "\tCADILLAC\n", "\n", "\tHammond stretches on the back seat. Cates slams the door\n", "\tshut.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't want you sleeping on the\n", "\t\t\tjob.\n", "\n", "\tHammond yawns, eases himself into a sitting position.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThe place opens in five minutes.\n", "\t\t\tGanz ought to be here soon...\n", "\n", "\tCates tears the paper bag open. Passes a cup of coffee and\n", "\tdonut back. He sips his own coffee, adds some whiskey from\n", "\this flask... pops another bennie.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou took a big chance, leaving\n", "\t\t\tthis here all this time.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNot really. I figured Ganz was\n", "\t\t\tput down for a long time. And I\n", "\t\t\tknew Luther would never job me on\n", "\t\t\this own. He's too chickenshit.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tGuess what? Luther just got in\n", "\t\t\tline.\n", "\n", "\tHammond sits up.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhat?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMusta got some primo bondsman.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tJesus Christ. That's a disgrace\n", "\t\t\tThe guy pulls a gun on a cop and\n", "\t\t\the's out in 24 hours. I tell you\n", "\t\t\tsome of the courts these days are\n", "\t\t\tjust a fucking revolving door.\n", "\n", "\tINT. PARKING LOT BUILDING\n", "\n", "\tLuther walks up to the window where a bored ATTENDANT reads\n", "\ta comic book.\n", "\n", "\t\t\t\t\tATTENDANT\n", "\t\t\tYeah?\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tI want to pick up my car.\n", "\n", "\tHe passes across a faded form.\n", "\n", "\t\t\t\t\tATTENDANT\n", "\t\t\tName?\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tHammond.\n", "\n", "\tThe Attendant examines the form, surprised.\n", "\n", "\t\t\t\t\tATTENDANT\n", "\t\t\tThis is three years old.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tYeah, I've been busy.\n", "\n", "\tThe Attendant opens a key file, begins rummaging in it.\n", "\n", "\t\t\t\t\tATTENDANT\n", "\t\t\tWe don't wash 'em, ya know.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tHow about chargin' the battery?\n", "\n", "\t\t\t\t\tATTENDANT\n", "\t\t\tThat we do. And we put air in the\n", "\t\t\ttires. I'll even sell you some gas\n", "\t\t\tif you need it.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tGreat, just great.\n", "\n", "\tThe Attendant finds the key, exits the booth. Luther follows\n", "\tto an elevated stack of cars. The Attendant throws a switch,\n", "\tthe stack of cars begins to move.\n", "\n", "\tSTREET\n", "\n", "\tLuther drives down the exit ramp in a dated Porsche\n", "\tconvertible.\n", "\n", "\tThe car is covered with a uniform coat of dust, except for\n", "\tthe windshield which has been wiped hastily clean.\n", "\n", "\tLuther waits for a break in the flow of traffic, drives out.\n", "\n", "\tAnother street\n", "\n", "\tLuther turns onto a side street and then suddenly Cate's\n", "\tCadillac appears ... starts to tail the Porsche.\n", "\n", "\tCADILLAC\n", "\n", "\tCates follows Luther through several turns.\n", "\n", "\tThe Porsche jerks whenever it speeds up or slows down.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tJesus Christ, look at all the dust\n", "\t\t\ton my car...why in the hell don't\n", "\t\t\the take it to a car wash?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tDidn't know you darker people went\n", "\t\t\tin for foreign jobs.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI had no choice. Some white\n", "\t\t\tasshole bought the last piece of\n", "\t\t\tshit skyblue Cadillac.\n", "\n", "\tANOTHER STREET\n", "\n", "\tThe Caddy follows the Porsche.\n", "\n", "\tINT. CADDY\n", "\n", "\tAs they follow Luther.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou'd think the guy'd be smart\n", "\t\t\tenough to know he was being tailed.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tTryin' to save his girl, man. He's\n", "\t\t\tin another world.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tIf I was his size and had Ganz on\n", "\t\t\tmy ass, I'd just leave town.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI'm tellin' you the man's in\n", "\t\t\tlove... he wants to be a hero for\n", "\t\t\this girl.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tOh, yeah, does bein' in love make\n", "\t\t\tyou stupid?\n", "\n", "\tANOTHER STREET\n", "\n", "\tThe Caddy follows the Porsche.\n", "\n", "\tAs they follow Luther.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI suppose you'd never be like\n", "\t\t\tLuther and let a woman get to\n", "\t\t\tyou...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI let women get to me. The quest\n", "\t\t\tfor pussy is the meaning of life\n", "\t\t\t... I got my own personal\n", "\t\t\tphilosophy about 'em. Keep women\n", "\t\t\tseparate from guns, money and\n", "\t\t\tbusiness ... women are for\n", "\t\t\tspending money. They got nothing\n", "\t\t\tto do with helping you make it.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThat ain't philosophy. That's\n", "\t\t\tcommon sense.\n", "\n", "\tANOTHER STREET\n", "\n", "\tThe Caddy follows the Porsche.\n", "\n", "\tINT. CADDY\n", "\n", "\tAs they follow Luther.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tSay, do you always work people\n", "\t\t\tover like you did Luther?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tIf they don't tell me what I need\n", "\t\t\tto know...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tDoesn't it get... Tiring?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'm not in this 'cause it's fun.\n", "\t\t\tI'm not into hitting guys 'cause\n", "\t\t\tit makes me feel good either... I\n", "\t\t\tdo it 'cause it works-...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou got a very depressing view of\n", "\t\t\tlife, man... you gotta smile once\n", "\t\t\tin awhile...\n", "\n", "\tANOTHER STREET\n", "\n", "\tThe Caddy follows the Porsche.\n", "\n", "\tINT. CADDY\n", "\n", "\tAs they follow Luther.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMaybe Luther hopes Ganz'll give\n", "\t\t\thim a piece of your money...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIf he's hoping that then he's\n", "\t\t\tdumber than I think he is, which\n", "\t\t\twould be amazin', cause I already\n", "\t\t\tthink he's real dumb.\n", "\n", "\tANOTHER STREET\n", "\n", "\tThe Caddy follows the Porsche.\n", "\n", "\tINT. CADDY\n", "\n", "\tAs they follow Luther.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tA long time agb Luther must of got\n", "\t\t\tthe shit beat out of him so bad it\n", "\t\t\tjust rattled his brain ... that\n", "\t\t\twould account for him making so\n", "\t\t\tmany wrong moves in a row...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, it doesn't look like he's\n", "\t\t\tgonna make it as a dangerous tough\n", "\t\t\tguy...\n", "\n", "\tANOTHER STREET\n", "\n", "\tThe Caddy follows the Porsche.\n", "\n", "\tINT. CADDY\n", "\n", "\tAs they follow Luther,\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou know, I'd be embarrassed if I\n", "\t\t\tlet my wheels go the way you've\n", "\t\t\tdone with this job.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat you don't understand is, I\n", "\t\t\tdon't give a damn about how this\n", "\t\t\tthing looks.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo class...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tClass isn't somethin' you buy,\n", "\t\t\tpunk. Look at you, five hundred\n", "\t\t\tdollar suit and you're still a\n", "\t\t\tlowlife.\n", "\n", "\tANOTHER STREET\n", "\n", "\tThe Caddy follows the Porsche.\n", "\n", "\tINT. CADDY\n", "\n", "\tAs they follow Luther.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWe're getting too close ... Cates,\n", "\t\t\twhat's the matter, you been takin'\n", "\t\t\tdumb pills?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, most cops are pretty dumb...\n", "\t\t\tBut since you're the one that\n", "\t\t\tlanded in jail what's that make\n", "\t\t\tyou?\n", "\n", "\tANOTHER STREET\n", "\n", "\tLuther pulls over to curb and parks.\n", "\n", "\tCADILLAC\n", "\n", "\tsuddenly swings over several lanes of traffic and parks in\n", "\tdriveway of parking lot.\n", "\n", "\tLUTHER - CATES & HAMMOND'S P.O.V.\n", "\n", "\tHe goes to the trunk. Rummages there ... picks up a flaming\n", "\tred suit.\n", "\n", "\tINT. CADILLAC\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThat Goddamn suit is yours?\n", "\n", "\tHammond winces.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThat was in style a couple years\n", "\t\t\tback, man.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tRight. if you ever switch from\n", "\t\t\tarmed robbery to pimping, then\n", "\t\t\tyou're all set.\n", "\n", "\tUnder the suit is a nondescript attache case. Luther takes\n", "\tit, closes the trunk. Beads down the sidewalk.\n", "\n", "\tCADILLAC\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThat's the money, Jack.\n", "\n", "\tThey jump out of the car, follow on foot.\n", "\n", "\tSTREET\n", "\n", "\tLuther hurries along the sidewalk.\n", "\n", "\tHe reaches the corner, turns quickly...\n", "\n", "\tCATES AND HAMMOND\n", "\n", "\tFollowing a little way behind.\n", "\n", "\tThey pause at the corner, watching the pedestrian traffic\n", "\tmove by. Then turn down the cross street after Luther. Follow\n", "\thim down a stairwell.\n", "\n", "\tSUBWAY STATION - LOBBY\n", "\n", "\tEscalators and open stairwells. Luther enters and pauses by\n", "\tthe doorway. Commuters crowd the counters and congregate near\n", "\tthe stairwells. More people are seated along hard plastic\n", "\tseats. But no Ganz. And no Billy.\n", "\n", "\tLuther moves further into the station. Cates and Hammond\n", "\tenter. They keep Luther fixed between them, 50 feet ahead.\n", "\tLuther seems to be wandering He walks through the shop area\n", "\tand back toward the escalator. Hammond remains near the\n", "\tarcade while Cates blends in with the commuters. Luther puts\n", "\tthe briefcase down at his feet and leans against a counter.\n", "\tNext to him, a loud troop of Boy Scouts marches by. A crowd\n", "\tof people from the train area below flows through the lobby\n", "\tobscuring Luther from Hammond and Cates for a moment. Cates\n", "\tsteps out to get a better view and suddenly spots Ganz moving\n", "\tthrough the crowd toward Luther. Be looks over at Hammond\n", "\tacross the station and motions. Then they both start moving\n", "\tin on Ganz, trying to intercept him before he gets deeper\n", "\tinto the crowd.\n", "\n", "\tGanz moves cautiously through the station. A crumpled\n", "\tnewspaper held absently in his hand. He scans the faces of\n", "\tthe commuters and spots Luther. Fails to notice Cates and\n", "\tHammond closing in on him from two directions.\n", "\n", "\tA PATROLMAN comes up. Starts chatting amiably with a Boy\n", "\tScout next to Luther. Ganz hesitates in his approach. He\n", "\tmotions Luther to move awaye, but Luther starts to panic when\n", "\the sees Cates and Hammond closing in...\n", "\n", "\tGanz reacts to Luther, turns and spots the two men. He makes\n", "\tan immediate break for open ground. The Patrolman sees Ganz\n", "\tstart to run. The newspaper is thrown to the floor... Ganz\n", "\tswings Cates' .44 toward Hammond.\n", "\n", "\t\t\t\t\tPATROLMAN\n", "\t\t\tHey--you!\n", "\n", "\tGanz whirls, his feet slipping on the marble floor. His shot\n", "\tat Hammond goes plowing into the ceiling. The crowd starts to\n", "\tpanic and run in all directions.\n", "\n", "\tThe Patrolman has al ready brought his own gun out. Levels it\n", "\tat Ganz.\n", "\n", "\t\t\t\t\tPATROLMAN\n", "\t\t\t\t\t (continuing)\n", "\t\t\tPut it down.\n", "\n", "\tBILLY BEAR\n", "\n", "\tSuddenly appears, Rosalie at his side. Billy Bear's .44\n", "\tblasts the Patrolman onto his back.\n", "\n", "\tGanz comes up and scrambles through the screaming patrons.\n", "\tHe, Billy and Rosalie head toward the escalator. Cates has\n", "\talready brought out his .38... Can't get a clean shot through\n", "\tthe chaos.\n", "\n", "\tHammond pushes his way through the crowd to Cates.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tShoot the sons of bitches.\n", "\n", "\tCates can't risk it...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou don't want to chance it, then\n", "\t\t\tgive me the gun...\n", "\n", "\tA moment.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tBullshit. Then i'm staying with\n", "\t\t\tthe money.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou stay with me...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo way...\n", "\n", "\tHammond starts after Luther. Cates turns, starts to aim at\n", "\tHammond. Hesitates...\n", "\n", "\tPASSENGER WALKWAY\n", "\n", "\tPanic has overtaken everyone as they try to escape the madman\n", "\twith the gun.\n", "\n", "\tGanz and Billy elbow and kick their way through the crowd,\n", "\ttugging Rosalie along...\n", "\n", "\tCates, gun in hand, creates further-panic as he moves after\n", "\tGanz.\n", "\n", "\tGanz grabs a man beside him.\n", "\n", "\tShoves him hard into the passengers in back.\n", "\n", "\tThe man knocks over several more people creating a roadblock.\n", "\n", "\tGanz vaults over the railing and starts for the trains.\n", "\tCates loses a few more precious seconds grappling through the\n", "\tterrorized passengers...\n", "\n", "\tTRAIN AREA\n", "\n", "\tThe usually jammed area looks like an empty stockyard. The\n", "\tpatrons huddle in fear against any available wall.\n", "\n", "\tCates bursts out of the stairwell...\n", "\n", "\tTUNNEL\n", "\n", "\tRed and green signal lights. The light goes red, a train\n", "\troars up and the doors hiss open.\n", "\n", "\tBilly and Ganz fight through the passengers getting off the\n", "\ttrain, jump on board; Billy pulls Rosalie behind him.\n", "\n", "\tCATES\n", "\n", "\tRunning for the doors...\n", "\n", "\tSuddenly, a SECURITY OFFICER appears, riot gun in hand.\n", "\n", "\t\t\t\t\tSECURITY OFFICER\n", "\t\t\tFreeze!\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNo! No! There they are!\n", "\n", "\t\t\t\t\tSECURITY OFFICER\n", "\t\t\tJust put it down real slow.\n", "\n", "\tThe train doors close.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'm a policeman, you asshole!\n", "\n", "\t\t\t\t\tSECURITY OFFICER\n", "\t\t\tDon't even try... now drop it\n", "\t\t\tor - you're all done.\n", "\n", "\tHe means it, points the riot gun even closer... The train in\n", "\tfront of him moves away.\n", "\n", "\tCates carefully places the .38 on the pavement. Then raises\n", "\this hands in the air.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tShit.\n", "\n", "\tTRAIN STATION - LOBBY\n", "\n", "\tWitnesses stand in nervous little knots. Give versions of\n", "\twhat happened to notepad-toting patrolmen. Hospital\n", "\tAttendants minister to various and sundry complaints.\n", "\n", "\tCates sits on a passenger bench, obviously dejected. A\n", "\tvoice comes echoing from behind.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tCates.\n", "\n", "\tHaden, silhouetted against the light from the street.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWhat the bell happened?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI lost them, that's what happened.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tHow did they get away?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThey ran. As fast as they could.\n", "\t\t\tCaught a train.\n", "\n", "\tHaden watches the Morgue Personnel wheel out the body of the\n", "\tPatrolman.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tWhich one pulled the trigger?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThe Indian. I was about 30 yards\n", "\t\t\taway.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tYou couldn't get to him?\n", "\n", "\tCates shrugs.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWhat a screw-up.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tRight. I screwed up. I fucked\n", "\t\t\tup. I messed up. Anybody could\n", "\t\t\thave done better, especially you.\n", "\t\t\tI bet you're real good at hitting\n", "\t\t\ttargets through crowds.\n", "\n", "\tHaden starts toward the street. Looks back at Cates.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tDon't duck the bullet Cates. Why\n", "\t\t\tdidn't you call in for backup\n", "\t\t\tinstead of makin' a grandstand\n", "\t\t\tplay?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI didn't have the time.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tToo bad, it would've covered your\n", "\t\t\tass. Now you're in the shit and\n", "\t\t\tso's the department. In case you\n", "\t\t\thaven't noticed, this wasn't our\n", "\t\t\tfinest hour... I told you everyone\n", "\t\t\twas watchin' on this one. Maybe\n", "\t\t\tyou better start thinkin' about\n", "\t\t\twritin' tickets off a three wheel\n", "\t\t\tbike.\n", "\n", "\tCates looks at Haden for a moment...\n", "\n", "\tTurns and walks away.\n", "\n", "\tTRANSITION.\n", "\n", "\tPREDMORE HOTEL - NIGHT\n", "\n", "\tHammond across the street from Predmore.\n", "\n", "\tStanding in a phone booth talking into the receiver...\n", "\n", "\tHe turns and looks acain at the hotel...\n", "\n", "\tHangs up.\n", "\n", "\tWalks into a nearby bar.\n", "\n", "\tTRANSITION.\n", "\n", "\tVROMAN'S ROCK CLUB\n", "\n", "\tHAMMOND\n", "\n", "\tPunk Dancers all over the floor.\n", "\n", "\tA rock group blasting away...(\"NEW SHOES\" - Vocal)\n", "\n", "\tHAMMOND\n", "\n", "\tAt a back booth...\n", "\n", "\tA MAN (SOSNA) approaches carrying a small suitcase.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHow you doing, man?\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tNot bad, not bad.\n", "\n", "\tPuts the suitcase down on the table.\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou want to go outside?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNaw, right here's okay.\n", "\n", "\tDancers sliding and jerking in front of them.\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tYou sure?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI'm sure. Everybody here's\n", "\t\t\tlooking at everybody else's ass.\n", "\n", "\tSosna pops open the suitcase. Lid shielding the contents from\n", "\tthe patrons...\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tI got some real nice merchandise.\n", "\t\t\tAll of it's clean.\n", "\n", "\tSuitcase arranged like q salesman's display case. Tightly\n", "\tspaced rows of handguns mounted in their holsters.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI like this one...\n", "\n", "\tPockets a revolver with a deft move.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tHow about some ammo?\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tIt's loaded... I got some shells\n", "\t\t\tin here.\n", "\n", "\tOpens another compartment. Hammond helps himself to two\n", "\tboxes...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHow much?\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tThis is clean shit. No serial\n", "\t\t\tnumbers and never been used...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tDon't mess with me. How much?\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tFive bills.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tFive. On credit.\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tThis ain't a credit business.\n", "\n", "\tYou know that.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYeah, I know that, but this is me\n", "\t\t\tand we're old friends. I haven't\n", "\t\t\tgot the money so what are you\n", "\t\t\tgonna do about it?\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tGive it back.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tTry and take it.\n", "\n", "\tA long moment.\n", "\n", "\t\t\t\t\tSOSNA\n", "\t\t\tFuck you. You got no right for\n", "\t\t\tthis kind of play.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI'll got your money to you. No\n", "\t\t\tsweat.\n", "\n", "\tHammonds heads for the bar.\n", "\n", "\tStands next to a good-looking woman (RITA). Nods to the\n", "\tbarkeep.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tVodka. With a twist. And I want to\n", "\t\t\trun a tab.\n", "\n", "\tServed up. He knocks half of it back, turns to the woman.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tMy name's Reggie Hammond.\n", "\n", "\tBig personality smile.\n", "\n", "\t\t\t\t\tRITA\n", "\t\t\tSo what?\n", "\n", "\tShe turns away as he takes a drink. He looks at another\n", "\tpretty girl (ANGELA).\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHi there. I'm Reggie Hammond.\n", "\n", "\t\t\t\t\tANGELA\n", "\t\t\tI'm with somebody.\n", "\n", "\tShe turns away.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tThis ain't my night.\n", "\n", "\tHe drinks up.\n", "\n", "\tTRANSITION.\n", "\n", "\tSQUAD ROOM - NIGHT\n", "\n", "\tSeveral Detectives are working at desks. Kehoe walks into the\n", "\toffice. He moves slowly to Cates' desk and slumps down in a\n", "\tnearby chair.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tYou look awful.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSo do you...been a long day.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tLong night, too, from what I heard\n", "\t\t\t... Word's going around that in\n", "\t\t\taddition to losing Ganz for the\n", "\t\t\tsecond time, and in addition to\n", "\t\t\tHaden busting you back to\n", "\t\t\tPatrolman, some jig beat the crap\n", "\t\t\tout of you.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tAw, bullshit, you heard wrong.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tDoesn't look like it.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNothing came in for me yet? No\n", "\t\t\tcalls?\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tNothing.\n", "\n", "\tKehoe's phone begins to ring. Cates watches hopefully.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\t\t\t (continuing)\n", "\t\t\tKehoe... Okay, hang on.\n", "\n", "\tOffers the phone to Cates.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\t\t\t (continuing)\n", "\t\t\tIt's for you... Ordinance.\n", "\n", "\tCates' excitement vanishes. He takes the receiver. Kehoe\n", "\tbegins to clean off his desk.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHello... Yeah, okay. I'll be in\n", "\t\t\ttomorrow. That's right, you can\n", "\t\t\tdepend on it. Okay?\n", "\n", "\tHe slams down the receiver, leans back in the chair.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tBullshit red tape.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tI'm heading out. How about you?\n", "\n", "\tCates shakes his head.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI got to wait for a call.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tOkay. See you in the morning...\n", "\t\t\tyou know, you ought to get some\n", "\t\t\trest...\n", "\n", "\tHe walks out the door. Cates stares fixedly at the phone on\n", "\tthe desk. Hoping Hammond will call... Across the room another\n", "\tphone starts to ring. Cates stares at the PLAINCLOTHESMAN who\n", "\tanswers.\n", "\n", "\t\t\t\t\tPLAINCLOTHESMAN\n", "\t\t\tYeah, he's here.\n", "\n", "\tCates stiffens.\n", "\n", "\t\t\t\t\tPLAINCLOTHESMAN\n", "\t\t\t\t\t (continuing)\n", "\t\t\tCates... line twelve.\n", "\n", "\tCates snatches up the phone, shouts into it...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou motherfucker, where are you?\n", "\n", "\tELAINE\n", "\n", "\tIn the Chronicle Restaurant and Bar, a well appointed\n", "\testablishment off Montgomery Street.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI'm at work, asshole. Where else?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tElaine! I... I'm sorry... I was\n", "\t\t\texpecting somebody else... police\n", "\t\t\tbusiness.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tNo wonder you're so popular.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNo, it's I'm just surprised you\n", "\t\t\tcalled.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tSo am I.\n", "\n", "\t\t\t\t ELAINE\t\t\t\tCATES\n", "\t\tJack, this afternoon...\t Hey, look, when...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYou first.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLook, I'm sorry about ... the way\n", "\t\t\tthings have been lately. I know\n", "\t\t\tI haven't been acting real great...\n", "\n", "\tBehind Cates, Kehoe steps back into the room.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tHey, Cates...\n", "\n", "\tCates swings around.\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\t\t\t (continuing)\n", "\t\t\tI almost forgot. That pal of\n", "\t\t\tyours from the Vice Squad wants\n", "\t\t\tyou to call him.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tJack, are you still there?\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tYeah. He said he rousted a bar\n", "\t\t\twith you last night.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tJesus Christ. Why the hell didn't\n", "\t\t\tyou tell me before?\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tI'm not paid to take your personal\n", "\t\t\tcalls. He was in some bar. .. off\n", "\t\t\tduty.\n", "\n", "\tCates interrupts.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThe number ... what's the Goddamn\n", "\t\t\tnumber?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tJack? What was that?\n", "\n", "\t\t\t\t\tKEHOE\n", "\t\t\tFind it yourself. It's on my desk.\n", "\n", "\tCates speaks back into the receiver.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tElaine, I gotta put you on hold...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tJack, wait...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tJust a second, that's all!\n", "\n", "\tHe hits the bold button, starts rummaging through the desk.\n", "\tPaperwork scatters in all directions.\n", "\n", "\tKehoe watches him in silence for awhile then leaves. Cates\n", "\tbegins to dial.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tHammond... you son of a bitch,\n", "\t\t\twhere are you?\n", "\n", "\tListens for a moment.\n", "\n", "\tVROMAN'S ROCK CLUB\n", "\n", "\tHammond on the phone as the band rocks away. (MONKEY\n", "\tMASH - Track only)\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHey, Jack, how ya doin'? What took\n", "\t\t\tyou so long to call, man? I been\n", "\t\t\twaitin' ... I'm at Vroman's up in\n", "\t\t\tthe Fillmore. Yeah, Vroman's...\n", "\t\t\t'Course you don't hang out here;\n", "\t\t\tit's for the brothers.\n", "\n", "\tSQUAD ROOM\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'll be there in a minute. You\n", "\t\t\tdon't move your ass, right?\n", "\n", "\tSlams down the phone. Starts toward the door. Remembers...\n", "\n", "\tHe dashes back to the phone, hits the other line. Hears only\n", "\ta buzz.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tOh, shit.\n", "\n", "\tTRANSITION.\n", "\n", "\tVROMAN'S ROCK CLUB\n", "\n", "\tBand blasting away on another number (THE BOYS ARE BACK IN\n", "\tTOWN - VOCAL)\n", "\n", "\tHammond now in the middle of the floor dancing his ass off\n", "\twith a girl named CANDY. As the song ends...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tMy name's Reggie Hammond.\n", "\n", "\tTries his big personality smile.\n", "\n", "\tThis time gets one back.\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tI'm candy...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tExcuse me, baby, but if i don't\n", "\t\t\tget some action tonight, I'm gonna\n", "\t\t\tbust. You interested?\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tHey, what kind of talk is that?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tOh ... You're a schoolteacher...\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tNo, I go to a school to learn how\n", "\t\t\tto do hair. It's a government\n", "\t\t\tprogram. But really I want to be\n", "\t\t\ta model - and I am definitely not\n", "\t\t\tsellin'.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (humorously)\n", "\t\t\tGoodbye.\n", "\n", "\tShe stops him.\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tHey, don't you think a hair\n", "\t\t\tstylists got any interest in\n", "\t\t\tgettin' it on?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHere you go sweetheart, throw it\n", "\t\t\tmy way.\n", "\n", "\tHe gives her a kiss.\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tYou're in a hurry.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYeah, i been waiting three years.\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tYou just quit bein' a priest or\n", "\t\t\tsomethin'?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo, baby, nothin' like that.\n", "\t\t\tLook, there's a place across the\n", "\t\t\tstreet. We can go right over\n", "\t\t\tthere...\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tWhat's the matter with my place?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo, it's gotta be here and now.\n", "\t\t\tBelieve me. Only I don't have the\n", "\t\t\tdamn money for a room...\n", "\n", "\tThe band starts up again. (\"LOVE SONGS ARE FOR CRAZIES\" -\n", "\tVOCAL)\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tYeah, well, even us non-pros\n", "\t\t\texpect the guy to pay for the\n", "\t\t\troom...\n", "\n", "\tCates suddenly appears... steps between them. Yells above the\n", "\tband's noise.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhere's luther?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tBe polite. Say hello. This is\n", "\t\t\tCandy.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHello. And goodbye.\n", "\n", "\tShe looks at Hammond. He nods.\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tWell, maybe I'll see you later ...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHere's hoping, baby...\n", "\n", "\tCandy leaves and melts into the crowd on the dance floor.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhat about Luther?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhat about Ganz?\n", "\n", "\tCates shrugs.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWe missed.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou missed ... Luther took a taxi\n", "\t\t\tto the hotel across the street.\n", "\t\t\tMade a phone call.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMaybe we should pay Luther a\n", "\t\t\tvisit.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tLet him get some sleep. He's\n", "\t\t\tgoing to need it.\n", "\n", "\tThey move to the bar.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThey must have set up a meeting\n", "\t\t\tfor the morning; Luther left an 8\n", "\t\t\tam wake-up and put up the \"Don't\n", "\t\t\tDisturb\" sign. He's trading his\n", "\t\t\tgirl for the money. All we have\n", "\t\t\tto do to grab Ganz is not go blind.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSo you took the rest of the night\n", "\t\t\toff...\n", "\n", "\tHammond smiles.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWe don't have too many\n", "\t\t\tcheerleaders in prison. I though\n", "\t\t\tI might indulge myself in a little\n", "\t\t\ttrim.\n", "\n", "\tCates orders two drinks.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tTell me something. Why didn't you\n", "\t\t\tjust take the money off Luther and\n", "\t\t\tsplit?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tForget it. I want Ganz as bad as\n", "\t\t\tyou do and I got some other news\n", "\t\t\tfor you...\n", "\n", "\tHe opens his jacket slightly. Reveals a shoulder holster and\n", "\taccompanying .45. A long moment.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't know why, but I'm going to\n", "\t\t\tlet you keep it. Maybe because you\n", "\t\t\ttold me you had it, or maybe just\n", "\t\t\tbecause I'm too tired to argue...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou sure that's the reason?\n", "\n", "\tPause.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThanks for callin' in... and I\n", "\t\t\tguess Maybe... Look, I'm sorry I\n", "\t\t\tcalled you Watermellon nigger...\n", "\t\t\tthose kinds of things. I was just\n", "\t\t\tleanin' on ya, doin' my job.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tBein' good at your job don't\n", "\t\t\texplain everything, Jack ...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah. Guess not.\n", "\n", "\tHammond gives him a big smile.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tAs long as you're feeling like Abe\n", "\t\t\tLincoln, how about payin' me on\n", "\t\t\tour bet? We got time and all this\n", "\t\t\tpussy around here's drivin' me\n", "\t\t\tcrazy. See that one over there,\n", "\t\t\tthe one I was with...\n", "\n", "\tHe nods at Candy across the way.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, I see her.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI can just take her right across\n", "\t\t\tthe street to Luther's hotel. All\n", "\t\t\tI need is some money for the room.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\n", "\tBig smile as Cates produces some cash. Hammond counts it\n", "\teagerly. Looks around. Candy suddenly appears like a trout\n", "\tseeing a lure. She grabs the money.\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tHello, again.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI just struck it rich... I think\n", "\t\t\twe can do a little business. As\n", "\t\t\ta matter of fact, I think we can\n", "\t\t\thave a party.\n", "\n", "\tHammond smiles, leads her out of the bar.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHurry back.\n", "\n", "\tCates watches them go, downs his drink. He fishes in his\n", "\tpocket for a coin, moves to a wall phone. Dials...\n", "\n", "\tCHRONICLE RESTAURANT BAR - NIGHT\n", "\n", "\tA COCKTAIL WAITRESS answers the phone as Elaine pours a drink.\n", "\n", "\t\t\t\t\tCOCKTAIL WAITRESS\n", "\t\t\tIt's for you.\n", "\n", "\tHands her the receiver.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tHello.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHi, it's me...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tFuck you.\n", "\n", "\tShe slams down the receiver.\n", "\n", "\tSIDEWALK - FRONT OF VROMAN'S - NIGHT\n", "\n", "\tHammond and Candy exit the rock club. A line of young Punkers\n", "\twaiting to get inside... Hammond and Candy are in a tight\n", "\tclinch, a little giggly.\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tSo... what did you have in mind?\n", "\n", "\tSuddenly, Hammond sees Luther emerge from the Predmore across\n", "\tthe street.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tOh no, not now!\n", "\n", "\tLuther moves down the street with the briefcase. Hammond\n", "\tpulls Candy back inside Vroman's.\n", "\n", "\tVROMAN'S ROCK CLUB - BAR\n", "\n", "\tRock group still blasting away... (LOVE SONGS ARE FOR\n", "\tCRAZIES - Vocal continues)\n", "\n", "\tHammond and Candy reappear, knocking aside a waitress about\n", "\tto refill Cates' drink.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThat was quick.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhen you been in prison three\n", "\t\t\tyears, it don't take long. Let's\n", "\t\t\tgo.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhy?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tLuther's on the move...\n", "\n", "\tCates jumps up, runs out. Hammond looks at Candy.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tI'll be back. Trust me.\n", "\n", "\tHe kisses her.\n", "\n", "\tRuns off after Cates. She stares at him in disbelief.\n", "\n", "\tSTREET LIGHT\n", "\n", "\tLuther checking over his shoulder for shadows, walks down the\n", "\tblock. Turns into a narrow street.\n", "\n", "\tA BUS STOP\n", "\n", "\tLuther waits, impatient.\n", "\n", "\tChecks his watch.\n", "\n", "\tLooks up and down the street.\n", "\n", "\tHe double-checks the bus stop sign over his head.\n", "\n", "\tJust as a bus pulls to a stop, air brakes hissing ...\n", "\n", "\tLUTHER\n", "\n", "\tGets in.\n", "\n", "\tSees that the driver is Billy Bear...\n", "\n", "\tBUS\n", "\n", "\tThe bus starts up. Luther hesitates in the front. On the wide\n", "\trear seat is Ganz. Rosalie beside him.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tOpen your coat. Both sides.\n", "\n", "\tHe shows he's not packed.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tLet her go.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tFirst, the money.\n", "\n", "\tLuther takes a step.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tJust show me.\n", "\n", "\tLuther puts the case on a side seat, opens it for display.\n", "\n", "\tANOTHER BUS STOP\n", "\n", "\tCommuters look up expectantly. One of two drift toward the\n", "\tcurb. Jump back in alarm as the bus roars by.\n", "\n", "\tBUS\n", "\n", "\tGanz is satisfied. Luther closes the case.\n", "\n", "\t\t\t\t\tLUTHER\n", "\t\t\tRosalie, you okay?\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tWhat are you talkin' about? I said\n", "\t\t\tI wouldn't hurt her.\n", "\n", "\tAnd then he shoots Luther. Right between the buttons.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tI never break my word.\n", "\n", "\tLaughs as Rosalie begins to scream.\n", "\n", "\tCATES' CADDY\n", "\n", "\tBarreling down the street, ignoring red lights.\n", "\n", "\tHammond shouts over the wind.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNotice something funny about that\n", "\t\t\tbus?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah. It missed the last four\n", "\t\t\tstops.\n", "\n", "\tCates pours on the gas.\n", "\n", "\tBILLY BEAR\n", "\n", "\tHis eyes fall on the rear view mirror. A white Caddy dances\n", "\tin the vibrating glass. Billy looks over his shoulder at Ganz.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tGanz!\n", "\n", "\tTHE CADDY\n", "\n", "\tSwerves into cross traffic, makes a big press forward. Comes\n", "\tabreast of the driver's side of the bus.\n", "\n", "\tGANZ\n", "\n", "\tSmashes a side window with the two handguns.\n", "\n", "\tBlasts away.\n", "\n", "\tCates driving with one hand as he draws his gun.\n", "\n", "\tCATES\n", "\n", "\tLooks up as glass shards sparkle down.\n", "\n", "\tHe speeds up ... he is neck and neck with the bus.\n", "\n", "\tHammond has a clear shot of Billy Bear who gives a side\n", "\tglance at him;\n", "\n", "\tHammond doesn't shoot...\n", "\n", "\tCates slows down and fires...\n", "\n", "\tBilly is hit in the shoulder. Ganz runs up and fires again...\n", "\tHammond is hit in the arm. Cates grabs Hammond by the shirt.\n", "\tYanks him close. Throws the wheel over ...\n", "\n", "\tCADDY\n", "\n", "\tSwerves as bullets pepper the passenger side. Stuffing flies\n", "\tout of Hammondis still warm seat. The right hand windows\n", "\texplode. Then the Caddy spins out.\n", "\n", "\tTHE BUS\n", "\n", "\tRoars away...\n", "\n", "\tTHE CADDY\n", "\n", "\tSkids into a traffic sign, demolishing some newspaper\n", "\tmachines. Cates curses, tries to start the car. The engine\n", "\twon't turn over. He looks at the distant bus.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tGoddamn! Goddamn! Goddamn!\n", "\n", "\tPounds on the dash. What's left of the windshield falls in at\n", "\tthe impact.\n", "\n", "\tTRANSITION.\n", "\n", "\tSQUAD ROOM - NIGHT\n", "\n", "\tCates at his desk. Hammond seated nearby, now with a bandaged\n", "\tarm. Haden in front of Cates, furious.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tA bus, you goddamn whiskey mick\n", "\t\t\tcop, you lost a stolen bus... We\n", "\t\t\tgot five deaths related to Ganz,\n", "\t\t\tall of 'em law enforcement\n", "\t\t\trelated, and you blow it for a\n", "\t\t\tlousy nigger convict...\n", "\n", "\tCates says nothing...\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThat's rights I called him a\n", "\t\t\tnigger. You bet I did ... I saw\n", "\t\t\tthe report on that little piece of\n", "\t\t\tshit. If he spent one legal day\n", "\t\t\tin his whole life, it'd be a\n", "\t\t\trecord...This is it for you...\n", "\t\t\tsuspension, review board... you've\n", "\t\t\thad it. When it gets 'round you\n", "\t\t\tprotect a con rather than nail a\n", "\t\t\tcop killer...\n", "\n", "\tCates stands up.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHe's got more brains and more guts\n", "\t\t\tin one corner of his asshole than\n", "\t\t\tany cop I've worked with.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tJust cause you say it with\n", "\t\t\tconviction don't mean shit to\n", "\t\t\tme... How you gonna take to a pink\n", "\t\t\tslip, huh?.\n", "\n", "\tCates stands. Moves to Hammond. Handcuffs himself to him.\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWhere the Christ do you think\n", "\t\t\tyou're going?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI'm taking my prisoner back to\n", "\t\t\tjail.\n", "\n", "\tHammond looks at Haden.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tGoin' a little hard on him, aren't\n", "\t\t\tyou?\n", "\n", "\t\t\t\t\tHADEN\n", "\t\t\tGo fuck yourself convict.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou know for a man, you have very\n", "\t\t\tpretty brown eyes.\n", "\n", "\tCates and Hammond walk out.\n", "\n", "\tUNDERGROUND PARKING LOT - POLICE STATION - NIGHT\n", "\n", "\tCates and Hammond walk stoically along a row of cars, arrive\n", "\tat Hammond's Porsche.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHey, how'd my car get here?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI had it impounded. Come on,\n", "\t\t\twe'll use it for haulin' you back\n", "\t\t\tto the slam.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tBack to jail in my own car. Ganz\n", "\t\t\tgot away. Got all my money. It\n", "\t\t\tjust don't seem right.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't know about you, but I\n", "\t\t\tcould use a drink... I'll buy you\n", "\t\t\tone. It'll be my good-bye present.\n", "\n", "\tTakes off Hammond's cuffs. Looks at them.. Throws them away.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tSorry we didn't do better, Jack.\n", "\t\t\tI feel like I let you down.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNaw, you didn't let me down. It\n", "\t\t\twas a long shot all the way. We\n", "\t\t\tgave 'em a good run at it.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYeah, but we didn't get 'em.\n", "\n", "\tThey get in and drive off.\n", "\n", "\tTRANSITION.\n", "\n", "\tEXT. CITY STREET - NIGHT\n", "\n", "\tThe Porsche blasts by ... These men want a drink.\n", "\n", "\tTRANSITION.\n", "\n", "\tCHRONICLE RESTAURANT AND BAR - NIGHT\n", "\n", "\tCates and Hammond walk in. It's late, the place is almost\n", "\tempty. The Bartender is a woman with her back to them\n", "\tconferring with a waitress about something.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIt's late, they're closing...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tDon't worry about it.\n", "\n", "\tThe barmaid turns around to take their order. It's Elaine.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tHey, I don't believe it.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHiya, kid.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI ought to have you and your\n", "\t\t\tfriend thrown out...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tDon't. We've had a hard night.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI can see that. Pardon me for\n", "\t\t\tsaying so, but you look like\n", "\t\t\tshit. What happened?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWe and my pal here have been\n", "\t\t\ttaking it on the chin for the last\n", "\t\t\tfew hours...\n", "\n", "\tHammond looks at her. He nudges Cates.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tWho the hell are you?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tName's Hammond, Reggie Hammond.\n", "\t\t\tI heard a lot about you. And any\n", "\t\t\tfriend of Jack's is a friend of\n", "\t\t\tmine.\n", "\n", "\tGives her a big smile.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI'm not so sure I can say the same\n", "\t\t\tthing...You don't look like a cop.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWell, I been workin' the other\n", "\t\t\tside of the street for the last\n", "\t\t\tfew years. And you don't exactly\n", "\t\t\tlook like a shrink, wearin' that\n", "\t\t\tdress...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tShrink major, not a shrink.\n", "\n", "\tShe pours three glasses of cognac. A STRAGGLER at the end of\n", "\tthe bar pipes up.\n", "\n", "\t\t\t\t\tSTRAGGLER\n", "\t\t\tHey, lady, a drink here.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tWe're closed.\n", "\n", "\t\t\t\t\tSTRAGGLER\n", "\t\t\tHey, what the hell?\n", "\n", "\tElaine turns to him; it's short and sweet.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tDrink your drink, pay up and get\n", "\t\t\tout.\n", "\n", "\t\t\t\t\tSTRAGGLER\n", "\t\t\tYou can't do this. It's against...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tHey, just fuck off. My friends\n", "\t\t\thave guns.\n", "\n", "\tCates holds up his pistol. The man's eyes widen and he turns\n", "\this angry move toward her into a skedaddle out of the bar.\n", "\tElaine finishes drying a glass and approaches.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou real down?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI've been better...Dead end. No\n", "\t\t\tGanz, no Indian.\n", "\n", "\tHe finishes his drink, puts down the glass.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tI gotta call the station.\n", "\n", "\tLooks back at Hammond...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tDon't run off anywhere, okay?\n", "\t\t\tI've already got enough to worry\n", "\t\t\tabout.\n", "\n", "\tMoves away.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHard man to live with.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tHow would you know?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHey, two days with him is enough.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tThat's no bull.\n", "\n", "\tShe looks at him carefully. They both grin.\n", "\n", "\tCATES\n", "\n", "\tIn the phone booth.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tIs there any report ... No ...\n", "\t\t\tJust tell me... nothing..Yeah I\n", "\t\t\tfigured... Okay, sure.\n", "\n", "\tHangs up.\n", "\n", "\tELAINE AND HAMMOND\n", "\n", "\tCates returns...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNothing. No sign of Ganz. No\n", "\t\t\tsign of the Indian. Airport's\n", "\t\t\tclean. Train station. Bus\n", "\t\t\tstation. Docks... Shit...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tGanz is going to be hard to track.\n", "\t\t\tJust a pure schizo ... wires all\n", "\t\t\tcrossed... totally without any\n", "\t\t\tpattern... kill anybody... The\n", "\t\t\tIndian... himself... anybody...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHow do you know?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tJack, it's all over the papers.\n", "\t\t\tHe's an obvious type. But this\n", "\t\t\tIndian...\n", "\n", "\tHammond cuts in.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHe was the only one of my bunch\n", "\t\t\tthat was my friend... He was\n", "\t\t\tloyal, went all the way for you...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tIn all due respect, he sounds kind\n", "\t\t\tof pathetic to me. The kind of\n", "\t\t\tguy that runs home to his momma or\n", "\t\t\tsome girlfriend. Have you two ace\n", "\t\t\tdetectives checked that out?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, well the only woman of the\n", "\t\t\tIndian's we ran into was shacked\n", "\t\t\tup with her dyke girlfriend. I\n", "\t\t\tguess she went with him before she\n", "\t\t\tcame outta the Closet ... They\n", "\t\t\tboth looked mad enough to kill\n", "\t\t\thim...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYeah, too bad. They were real\n", "\t\t\tnice lookin' too...In bed\n", "\t\t\ttogether, hardly any clothes one\n", "\t\t\twatching TV...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tWhat makes you think they were\n", "\t\t\tlesbians, or as you so quaintly\n", "\t\t\tput it, dykes?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tCome on, they were a little old\n", "\t\t\tfor a slumber party.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tIt might pay to reexamine a few of\n", "\t\t\tyour more primitive notions. I\n", "\t\t\twas in bed with a girlfriend\n", "\t\t\twatching TV last week, Jack, and\n", "\t\t\tone thing we know about me is I\n", "\t\t\thappen not to be a lesbian ...\n", "\t\t\tNow, if this Indian's girlfriend\n", "\t\t\tgot upset when you came looking\n", "\t\t\tfor him, it could just be she's\n", "\t\t\tstill vulnerable to him.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSo what?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tWhen a guy hurts you, then comes\n", "\t\t\tback bleeding on his hands and\n", "\t\t\tknees, who knows, he might just be\n", "\t\t\tirrestible.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHey, Come on, shrink time's over.\n", "\t\t\tThey wouldn't go see some old\n", "\t\t\tgirlfriend.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tOh, yeah, well look where you came\n", "\t\t\twhen you were down and out.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tShe's got a point there, Jack.\n", "\n", "\tSmiles. Cates reflects for a moment.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tIt's the only thing we got.\n", "\n", "\tHe looks at Elaine.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tWhaddya think?\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tWhat do I know? I'm just a\n", "\t\t\tbartender.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLet's go, Reggie.\n", "\n", "\tHe kisses Elaine.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tDo I get to kiss her too?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tIf she's right, and if you don't\n", "\t\t\tscrew up.\n", "\n", "\tThey exit the bar.\n", "\n", "\tTRANSITION.\n", "\n", "\tEXT. STREET - CHINATOVIN - NIGHT\n", "\n", "\tCates and Hammond hidden in a doorway which affords them a\n", "\tgood view of the alley landing to Casey and Sally's apartment.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWhat if your girl's theory turns\n", "\t\t\tout to be bullshit? I mean, they\n", "\t\t\tcould be in Rio de Janeiro.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI've got to play it rough with\n", "\t\t\tthem. If they know anything, I'm\n", "\t\t\tgonna know it.\n", "\n", "\tA woman appears, turning out to be Casey carrying a shopping\n", "\tbag.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHey, there she is...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhatever play I maker just back me\n", "\t\t\tup.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIf we run into Billy first, let me\n", "\t\t\ttry and talk him in.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSure, I'll give you a shot at it,\n", "\t\t\tbut Ganz is mine. You know, that\n", "\t\t\tbig Indian plays it for keeps...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYeah, and I know Ganz sure ain't\n", "\t\t\tno sweetheart... I wouldn't like\n", "\t\t\tit if this partnership ended\n", "\t\t\tbefore it gets started.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tPartnership?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWell, you got to admit we come a\n", "\t\t\tlong way.\n", "\n", "\tCates gives him a smile.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLet's just do it.\n", "\n", "\tAPARTMENT STAIRWELL\n", "\n", "\tAs Casey opens the door and starts toward the.stairs, Cates\n", "\tand Hammond come through the door and grab her. They are now\n", "\ton the ground floor stairwell.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI hear you've got visitors.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tWould you guys...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNo time for any of that crap any\n", "\t\t\tmore, lady... I'll rip your lungs\n", "\t\t\tout if you don't answer fast.\n", "\n", "\tCates has her by the shoulder and arm; he twists her like a\n", "\tvise...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHe means it...\n", "\n", "\tShe looks at Cates, knows Hammond's correct.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tDon't kill him. Please, just\n", "\t\t\tdon't kill him.\n", "\n", "\tA long moment.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou and the other one, you're\n", "\t\t\tstill Billy's girls. You always\n", "\t\t\twere his girls...\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tYeah. Sure, i'm crazy in love\n", "\t\t\twith him, who wouldn't be...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou're gonna help us take him.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tNo chance.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHe can live or die ... You let us\n", "\t\t\tin and he's got a chance to make\n", "\t\t\tit. Otherwise, he gets ventilated.\n", "\n", "\tCasey's face is seared with pain at the thought of Billy\n", "\tdying.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tIf you help use he's got a chance,\n", "\t\t\tlady.\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tBilly's in the first room off the\n", "\t\t\thall ... With rosalie ... He's\n", "\t\t\tmakin' her happy tonight. You\n", "\t\t\tdon't understand about the way it\n", "\t\t\tis with him, do ya?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tWhere's ganz?\n", "\n", "\t\t\t\t\tCASEY\n", "\t\t\tIn the back. Down the other\n", "\t\t\tcorridor.\n", "\n", "\tCates looks at Reggie.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tLooks like you're gonna get your\n", "\t\t\tchance.\n", "\n", "\tThey move upward...\n", "\n", "\tINT. APARTMENT - NIGHT\n", "\n", "\tCates is stealthily going to the end of the second corridor\n", "\tof the kitchen and living room area. That corridor turns at\n", "\ta sharp angle and goes to the back. Hammond is at the very\n", "\tfront of that first corridor..at a door ... he shoves it back.\n", "\n", "\tINT. FIRST BEDROOM\n", "\n", "\tThere is a bed and Rosalie, undressed, is in it... Billy is\n", "\tseated on the edge of it... pants on, shirt off, pulling on\n", "\this boots. Suddenly, Hammond is pointing a gun at him...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tGive it up, Billy. You got no\n", "\t\t\tshot at it.\n", "\n", "\tBilly stands.\n", "\n", "\t\t\t\t\tROSALIE\n", "\t\t\tDon't let him hurt met Billy.\n", "\t\t\tYou're not gonna let 'em hurt me,\n", "\t\t\tare ya?\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tHe won't hurt you. He ain't gonna\n", "\t\t\tdo nothin' to you, he's just after\n", "\t\t\tme.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI'm tellin' ya, Billy, give it up.\n", "\n", "\t\t\t\t\tBILLY\n", "\t\t\tI never was much for bein'\n", "\t\t\trehabilitated.\n", "\n", "\tBilly looks at Hammond. With lightning sudden quickness, he\n", "\treaches and produces a huge Bowie knife from behind his back.\n", "\tBilly smiles, laughs...then with a sudden, awful roar, he\n", "\tleaps at Hamnond who unflinchingly fires his pistol. The big\n", "\tslugs stop Billy cold and throw him back against the bed as\n", "\tRosalie shrieks.\n", "\n", "\tINT. BACK BEDROOM\n", "\n", "\tGanz, half-dressed, asleep, gun in hand, throws himself off\n", "\tthe bed, pushes Sally out of the way ... opens the door and\n", "\tstarts firing furiously down the corridor... He grabs the\n", "\tbriefcase and runs to the window.\n", "\n", "\tINT. CORRIDOR/DOOWAY TO BACK BEDROOM\n", "\n", "\tCates has ducked the bullets ... he is inching toward the\n", "\tdoor...\n", "\n", "\tHe pulls it open...Ganz from the window fires another shot\n", "\twhich almost gets him then vanishes down the fire escape...\n", "\n", "\tINT. BACK BEDROOM\n", "\n", "\tSally gets to her feett yelling, runs at Cates as he appears\n", "\tand futilely tries to hit him....He throws her down on the\n", "\tbed as if she were a doll ... He goes to the window...\n", "\n", "\tEXT. FIRE ESCAPE\n", "\n", "\tGanz peels down the fire escapes hits the ground. He stops\n", "\tfor a second... Then Cates appears, Ganz fires a shot then\n", "\tstarts to run. Cates keeps coming...\n", "\n", "\tINT. FIRST BEDROOM\n", "\n", "\tHammond hears the gunfire, runs out of the room...\n", "\n", "\tCATES\n", "\n", "\tDives down the fire escape.\n", "\n", "\tBATHROOM\n", "\n", "\tHammond enters to find it empty of Ganz and Cates, only Sally\n", "\tcrying hysterically ... He runs out.\n", "\n", "\tEXT. CHINATOWN STREET\n", "\n", "\tGanz runs out the back alley ...Cates pursues...\n", "\n", "\tALLEY\n", "\n", "\tHammond runs down the stairs toward the front of the building.\n", "\n", "\tEXT. STREET\n", "\n", "\tGanz runs, turns out of an alley onto a street baked with\n", "\tneon light. Cates pursues.\n", "\n", "\tEXT. FRONT OF CASEY'S BUILDING\n", "\n", "\tHammond runs out, turns down the adjoining street.\n", "\n", "\tCATES\n", "\n", "\tFollowing Ganz, holding him in sight, but unable to get a\n", "\tshot off...\n", "\n", "\tPARALLEL STREET\n", "\n", "\tHammond running down a street near the one where Ganz is\n", "\tbeing chased...\n", "\n", "\tMAIN STREET\n", "\n", "\tCates fires at Ganz ... Ganz ducks in a doorway...\n", "\n", "\tHAMMOND\n", "\n", "\ton his street hears the shot... he runs toward it, down a\n", "\tnarrow alley between two buildings....\n", "\n", "\tEXT. DOORWAY AT END OF ALLEY\n", "\n", "\tGanz hears footsteps approach from the opposite direction of\n", "\tCates. They move very close to where be is crouched... it is\n", "\tHammond coming toward him... Ganz suddenly rolls a garbage\n", "\tcan in his path, dropping him like a stone.\n", "\n", "\tCATES\n", "\n", "\tComes toward where he expects to find Ganz... Ganz has his\n", "\tarm around Hammond's throat and his gun to his ear...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tDrop it... you come up against me,\n", "\t\t\tyou're gonna lose...\n", "\n", "\tHammond drops his gun.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tHey, cop, come on...l got\n", "\t\t\tsomething for ya... come on...\n", "\n", "\tEXT. MAIN STREET\n", "\n", "\tCates comes out of the doorway from which he's fired...and\n", "\tcomes into the middle of the street, gun up ... he puts it\n", "\tdown when he sees Ganz with Hammond in jeopardy. The hand\n", "\tthat's around Hammond's throat also holds the black bag.\n", "\tCates walks forward, his gun down at his side...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tAfter I get outta this, cop...I'm\n", "\t\t\tgonna live forever...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI don't think you're gonna make it.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tWhaddya mean...I got your gun ...\n", "\t\t\tI got his money... I got\n", "\t\t\teverything...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tGive up. He's crazy. He'll kill\n", "\t\t\tus both.\n", "\n", "\tCates still walking...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tHe won't try it. He's a fucking\n", "\t\t\tchickenshit cop. They're all\n", "\t\t\tfucking wimps, right, Cates?\n", "\n", "\tThey are now closer to each other. Ganz holding Hammond and\n", "\tthe money...\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\t\t\t (continuing)\n", "\t\t\tOkay, cop ... give me your gun and\n", "\t\t\tI'll let him live. Come on, Cates,\n", "\t\t\tyou're real good at giving up your\n", "\t\t\tgun.\n", "\n", "\tCates keeps the same methodical pace...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tSure...\n", "\n", "\tSuddenly, he crouches and fires twice. Hammond twists as Ganz\n", "\talso fires. Ganz is hit in the collarbone and driven ten feet\n", "\tbackward. His grip on Hammond drops, Hammond dives to the\n", "\tground, looks at Cates.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tJesus Christ, I didn't think you'd\n", "\t\t\treally do it. You are crazy.\n", "\n", "\tGanz' gun still in his hand, but his arm useless at his side.\n", "\tCates is frozen in the crouch, ready to fire again.\n", "\n", "\tGanz is in enormous pain holding his bleeding chest... A look\n", "\tof childish disbelief passes over his face.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tI got hit. I can't believe it. I\n", "\t\t\tgot shot.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou're done. End of story.\n", "\n", "\t\t\t\t\tGANZ\n", "\t\t\tI ain't gonna beg for my life. It\n", "\t\t\tain't cool.\n", "\n", "\tHe runs at Cates full-speed, screaming, roaring, then is\n", "\tstopped by two more bullets that tear fist-sized holes in his\n", "\tchest. Cates rises from his crouch. Takes his gun out of\n", "\tGanz' now lifeless hand. Then goes over to Hammond...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYours?\n", "\n", "\tCates raises the pistol.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tMine...\n", "\n", "\tPause.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tYou okay?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYeah. But I wasn't there for a\n", "\t\t\tsecond.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYou did pick a real strange time\n", "\t\t\tto go and be brave all on your\n", "\t\t\town...\n", "\n", "\tHammond smiles.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tJust tryin' to get the money,\n", "\t\t\tJack. Just tryin' to build up a\n", "\t\t\tfew points on that merit system.\n", "\n", "\tCates smiles back, picks up the black bag as they move off.\n", "\n", "\tTRANSITION.\n", "\n", "\tELAINE'S BATHROOM\n", "\n", "\tCates in the tub, steam rushing from the water.\n", "\n", "\tElaine sits on the porcelain edge as he splashes and soaps...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tHow'd they take it back at\n", "\t\t\theadquarters?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tUsual bullshit. You make one\n", "\t\t\tsmart move and everybody wants to\n", "\t\t\tbe your friend... You know\n", "\t\t\tsomethin', shootin' guys sucks.\n", "\t\t\tEspecially compared to this.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tI've been waiting a long time to\n", "\t\t\thear you say that.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tYeah, bein' a hard-ass all the\n", "\t\t\ttime is a real drag, but it works.\n", "\n", "\tHe reaches out, lifts his watch from his pile of clothes on\n", "\tthe floor.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tThree more hours...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tWhere is he?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tPromised I'd turn my back while\n", "\t\t\the... ah, never mind...\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tTell me.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tHe's takin' care of the same\n", "\t\t\tbusiness I'll be takin' care of -\n", "\t\t\tsoon as I dry off.\n", "\n", "\tElaine smiles, leans close.\n", "\n", "\t\t\t\t\tELAINE\n", "\t\t\tYou're impossible...\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThat's what I always say.\n", "\n", "\tTRANSITION.\n", "\n", "\tCANDY'S ROOM - NIGHT\n", "\n", "\tMinimal crummy hotel room accommodations... Hammond is\n", "\tkissing her at the door, finishing buttoning all his buttons.\n", "\n", "\tHe reaches for a wallet, gives her several bills.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHere you go, baby.\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tHey, don't do that. I said I\n", "\t\t\twasn't a pro, remember?\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHey, no, I'm tryin' to be nice.\n", "\t\t\tBuy yourself something pretty.\n", "\t\t\tI'd do it, but I got to go. I got\n", "\t\t\tthis cop waitin' for me...\n", "\n", "\tThey kiss... it's pretty romantic... She opens the door for\n", "\thim.\n", "\n", "\tCORRIDOR\n", "\n", "\tShe stands at the top of the stairs; as Hammond walks down,\n", "\the calls back to her over his shoulder ...\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tI'll be back in six months...\n", "\t\t\tMaybe I'll make an honest woman of\n", "\t\t\tyou.\n", "\n", "\tHe gives her a big sniile.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\t\t\t (continuing)\n", "\t\t\tI'll buy ya the best dinner in San\n", "\t\t\tFrancisco...how'd that be? Then\n", "\t\t\twe'll go dancin', okay?\n", "\n", "\t\t\t\t\tCANDY\n", "\t\t\tNow you're talkin'. See ya...\n", "\n", "\tHe moves off, still smiling, holding the black briefcase...\n", "\n", "\tSTREET - NIGHT\n", "\n", "\ton a picturesque hill above the Haight. Cates standing near\n", "\tthe wheel of Hammond's Porsche. Hammond comes down the porch\n", "\tsteps from the hotel.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tOkay, reggie, start bustin' my\n", "\t\t\tchops... Tell me how great you\n", "\t\t\twere with that chick.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tHey, Jack, real men don't have to\n", "\t\t\tgo in for that macho bullshit ...\n", "\t\t\tbut I was fantastic.\n", "\n", "\t\t\tAs a riatter of fact, I was so\n", "\t\t\tgood, I may have my cock done in\n", "\t\t\tbronze.\n", "\n", "\tCates holds up the black briefcase.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tI guess this is what you want to\n", "\t\t\ttalk about...All the pretty money\n", "\t\t\tthat's inside here.\n", "\n", "\tCates takes the case to the trunk, opens it, deposits the\n", "\tcase, locks the trunk.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tWait a minute, Cates. I've been\n", "\t\t\twaitin' three years for that. I\n", "\t\t\tdon't think it's fair, man. What\n", "\t\t\tabout the merit system.? You were\n", "\t\t\tgonnna give me a few thousand.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThere's nothin' to talk about.\n", "\n", "\tAnother long exchange of looks. Then be hands Hammond the\n", "\tkeys to the trunk.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\t\t\t (continuing)\n", "\t\t\tIt's your money. It'll be here in\n", "\t\t\tsix months when you get out.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tAnd you're tellin' me you don't\n", "\t\t\twant any of this cash?\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThat's right. Not my style,\n", "\t\t\tReggie..\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tYou are an awesomely weird cop.\n", "\t\t\tSure wish there were more like you\n", "\t\t\trunnin' around out here.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tNo, you don't. If I ever get word\n", "\t\t\tof you steppin' over the line\n", "\t\t\tagain, I'm gonna ventilate that\n", "\t\t\tsuit of yours.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tSpare met Jack. I'm into legit\n", "\t\t\tinvestments from here on in.\n", "\n", "\tCates gives him a very skeptical look, as they head for the\n", "\tcar.\n", "\n", "\tHammond gets in behind the wheel, Cates on the passenger side.\n", "\n", "\tCates takes out a cigarette, starts to light it.\n", "\n", "\tHammond takes the match does it for him.\n", "\n", "\t\t\t\t\tCATES\n", "\t\t\tThanks.\n", "\n", "\t\t\t\t\tHAMMOND\n", "\t\t\tNo trouble, Jack. But, listen,\n", "\t\t\tsuppose I stay a crook? Where'd\n", "\t\t\tyou get the idea that you could\n", "\t\t\tcatch me?\n", "\n", "\tThey both smile. Hammond socks it into gear and they drive\n", "\toff into the far distance...\n", "\n", "\t\t\t\t\t\t\t\tEND.\n", "\n", "\n", "\n", "\t\t\t\tThe Fifth Element\n", "\n", "\t\t\t\tAn original script\n", "\t\t\t\tby\n", "\t\t\t\tLuc Besson\n", "\n", "\t\t\t\tRevisions by\n", "\t\t\t\tLuc Besson\n", "\t\t\t\tand\n", "\t\t\t\tRobert Mark Kamen\n", "\n", "\t\t\t\tAugust 1995 Draft\n", "\n", "\t\t\t\tGaumont and Les Films du Dauphin\n", "\n", "FADE IN:\n", "\n", "1\tEXT. DESERT NILE RIVER VALLEY - DAY\n", "\n", "\tSomewhere in the Nile at the edge of the desert.\n", "\n", "\tCREDITS ROLL\n", "\n", "\tWRITTEN:\tEGYPT 1913\n", "\n", "\tOMAR and his mule zigzag along the bottom of sun scorched dunes.\n", "\n", "2\tEXT. TEMPLE EXCAVATION - DAY\n", "\n", "\tThe mule and the boy finally reach a camp. A few tents dwarfed by a huge\n", "temple door jutting out of the sand. The camp is deserted except for\n", "some kids by the temple entrance holding large mirrors, reflecting light\n", "into the temple.\n", "\tOmar leaves his mule in the shade, seizes two goatskins and slips inside\n", "the temple.\n", "\n", "3\tINT. TEMPLE - DAY\n", "\n", "\tOmar makes his way uneasily down a pillared corridor that opens into a\n", "vast room where an old scientist stands on a small wooden ladder in front of\n", "the wall across the room. PROFESSOR MASSIMO PACOLI. A young man is beside\n", "him, BILLY MASTERSON, age 25, an American student. He has a large sketchpad in\n", "his hands. Behind them AZIZ, age 10, whose job is to hold the last\n", "mirror which shines light into the expansive room.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\t(deciphering)\n", "\t\t\t\t\"..when the three planets are in eclipse..\"\n", "\n", "\tHis fingers trace across the wall which is covered with symbols and\n", "strange hieroglyphs as he deciphers.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\"..the black hole like a door is open...\n", "\t\t\t\tEvil comes ... sowing terror and chaos...\"\n", "\t\t\t\tSee? The snake, Billy. The Ultimate Evil\n", "\t\t\t\t... make sure you get the snake!\n", "\n", "\tThe Professor points emphatically to the snake, the symbol of Evil,\n", "coming through the door between the three planets in eclipse. C.U.\n", "Billy's hand sketches the snake quickly. He is a natural artist.\n", "\n", "\t\t\t\t\t\tBILLY\n", "\t\t\t\tAnd when is this door opening snake act\n", "\t\t\t\tsupposed to occur?\n", "\n", "\tThe Professor's fingers touch the signs.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t..if this is the five..and this the thousand..\n", "\n", "\tHe calculates.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tEvery five thousand years..\n", "\n", "\t\t\t\t\t\tBILLY\n", "\t\t\t\t\t(kidding)\n", "\t\t\t\tSo I have some time..\n", "\n", "\tHe reaches for the pad.\n", "\n", "\tANGLE ON: Omar. Standing at the entrance to the chamber with the water\n", "bag, entranced by the sight. A skeletal hand falls on his shoulder. Omar\n", "turns to an ancient PRIEST in a rough milled black cannock.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tI will take it to them my son.\n", "\n", "\tStartled but obedient, Omar gives the water bag to the Priest.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tGo with God.. be safe from Evil..\n", "\n", "\tThe Priest makes the sign of the Cross on the boy's forehead, dismissing\n", "him.\n", "\tAs soon as he is gone, the Priest turns a worried eye to the Professor.\n", "\n", "\tANGLE ON: The Professor is back to translating, Billy to sketching.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\"..then arrange the elements of life against\n", "\t\t\t\tthe Terror just so..\"\n", "\n", "\tHis fingers run on.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\"..Water..fire..earth..air..four\n", "\t\t\t\telements around the fifth..\"\n", "\n", "\tHis fingers fall on the one element that has a human shape, surrounded by\n", "all the others.\n", "\n", "\tThe Priest opens the water skin and begins to pour a vial of powder into\n", "the skin.\n", "\n", "\tANGLE ON: Aziz falling asleep. The mirror falls, the light fails.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tAziz! Light!\n", "\n", "\tThe boy struggles to stay awake. The mirror comes up.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tLord forgive me.. they already know too,\n", "\t\t\t\tmuch..\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\"..in which all the history of the Universe resides\n", "\t\t\t\t..all the strength..all the hope..Protect us from\n", "Evil..\"\n", "\n", "\t\t\t\t\t\tPRIEST (V.O.)\n", "\t\t\t\tAmen..\n", "\n", "\tThe Professor turns to the Priest who is pouring water into a tin cup\n", "from the skin.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tFather.. it in the most extraordinary thing..\n", "\t\t\t\tthe greatest find in history..can you imagine\n", "\t\t\t\tthe implications.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tOnly too well... here you must be\n", "\t\t\t\tparched..\n", "\n", "\tHe hands the cup to the Professor. The Professor takes it, has it almost\n", "to his lips when..\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tI mean look.. it is like a battle plan..\n", "\n", "\tIn his excitement he does not drink, much to the Priest's chagrin.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tHere the Good.. Here the Evil..\n", "\n", "\tAs the Priest looks up, Aziz the mirror boy, tips his mouth under the\n", "water skin, drinking the leakage.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tHere..\n", "\n", "\tHe points to the Five Elements.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tA weapon against evil. Amazing! I am\n", "\t\t\t\tgoing to be famous.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tThen let us toast to your fame! Here Billy..\n", "\n", "\tThe Priest hands Billy a cup.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tDrink!\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tTo fame.. salud..\n", "\n", "\tThe Professor raises the cup to drink, and then...\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tWe cannot toast with water.. Billy !\n", "\t\t\t\tIn my sack.. the Grappa!\n", "\n", "\tThe Priest watches, disconsolate, as the Professor tosses away his water.\n", "Billy finishes his cup before running off into the tunnel.\n", "\n", "4\tEXT. COLONNADE - DAY\n", "\n", "\tA muffled SOUND grows steadily louder. Outside, a monstrous linear shadow\n", "disturbs the kid's game and gradually darkens the temple entrance.\n", "\n", "5\tINT. TUNNEL - DAY\n", "\n", "\tBilly is looking for the grappa in the Professor's bag. He comes upon a\n", "machine pistol. When the muffled SOUND suddenly grabs his attention. He\n", "leans toward the corridor and sees part of a spaceship appear. Billy is\n", "paralyzed.\n", "\n", "6\tINT. TEMPLE ROOM - DAY\n", "\n", "\tThe Professor keeps reading over the inscription.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\"..this perfect person.. this perfect\n", "\t\t\t\tbeing..\" I do not understand this.. perfect?\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tWhere is that boy? Billy!\n", "\n", "7\tINT. TUNNEL - DAY\n", "\n", "\tBilly presses himself against the wall, in the shadows, terrified, but\n", "sketching away like mad, as large shadowed figures lumber past him. He\n", "begins to blink, feeling the effects of the Priest's potion..\n", "\n", "8\tINT. TEMPLE ROOM - DAY\n", "\n", "\tThe Professor reads the wall.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tAnd this divine Light they talk\n", "\t\t\t\tabout.. what is Divine light?\n", "\n", "\tAt that moment, the reflection from Aziz's mirror drops again. The light\n", "fails.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\t(without turning)\n", "\t\t\t\tAziz light!\n", "\n", "\tThe room is flooded with light all of the sudden.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tBetter.. this is the most unbelievable thing\n", "\t\t\t\tI have ever seen..\n", "\n", "\tThe Professor turns around, and is stunned speechless to find himself\n", "face to face with two MONDOSHAWANS. A dozen others fill the hall manning\n", "the source of the light, large luminous globes. Aziz is fast asleep.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\t(uncomprehending)\n", "\t\t\t\t...Uh, yes?\n", "\n", "\tThe Professor is lifted up and carried off to the side by the aliens.\n", "The KOMMANDER stops in front of the Priest who is still on his knees, face\n", "to the ground.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tMaster... He was about to discover everything,\n", "\t\t\t\tbut I had the situation under control.\n", "\n", "\tThe two MONDOSHAWAN GUARDS hold the professor three feet off the ground.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\t\t(in a panic)\n", "\t\t\t\tWho are you? Are you Germans? Sprechen\n", "\t\t\t\tSie Deutsch?\n", "\n", "9\tINT. TUNNEL\n", "\n", "\tBilly staggers forward, a machine pistol in his hand.\n", "\n", "10\tINT. TEMPLE ROOM\n", "\n", "\tThe KOMMANDER holds out his hand to the Priest.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tWhat did I do wrong?\n", "\n", "\tThe Priest jumps to his feet excitedly.\n", "\n", "\t\t\t\t\t\tKOMMANDER\n", "\t\t\t\tServant, you and the thousand guards\n", "\t\t\t\tbefore you... You have done your work well,\n", "\t\t\t\tbut we have to recover the elements. War will\n", "\t\t\t\tsoon engulf your planet. We must keep them safe.\n", "\n", "\tThe Kommander goes over to the wall and seems to be looking for a lock.\n", "He finds it and slides in his metallic finger which is more intricate\n", "than a key to a safe. He turns his hand, activating a mechanism that opens\n", "the wall.\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tUnbelievable!!!\n", "\n", "\tThe Kommander turns around and crooks a finger. One of the MONDOSHAWANS\n", "\twaves his hand, puts the professor to sleep and heads down the hallway\n", "revealed by the opening. He is followed by his men. The Priest slips in\n", "behind them.\n", "\n", "11\tINT. ROOM 2 TEMPLE - DAY\n", "\n", "\tThe Kommander steps into a vast room. The ceiling is very high, pyramid-\n", "shaped. In each corner of the room, four vessels contain four\n", "rectangular twelve-inch stones-, the four elements. In the middle, an\n", "opaque sarcophagus rests on an altar. The Kommander stops and\n", "contemplates it a moment.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\t\t(to himself)\n", "\t\t\t\tThe Fifth Element...\n", "\n", "\t\t\t\t\t\tKOMMANDER\n", "\t\t\t\tTake them and put them in a safe place.\n", "\n", "\tHis men carry out his order.\n", "\n", "12\tINT. ROOM 1 TEMPLE - DAY\n", "\n", "\tBilly staggers across the floor, struggling to stay awake.\n", "\n", "13\tINT. ROOM 2 TEMPLE - DAY\n", "\n", "\tThe Kommander opens a case. His men come and put the four, precious\n", "stones in it, one by one.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\t\t(moved)\n", "\t\t\t\tWill the elements be gone now forever\n", "\t\t\t\tfrom this place?\n", "\n", "\t\t\t\t\t\tKOMMANDER\n", "\t\t\t\tWhen mankind comes to its senses.\n", "\t\t\t\tWe will return.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tKnowing mankind as I do, that could take\n", "\t\t\tcenturies!\n", "\n", "\t\t\t\t\t\tKOMMANDER\n", "\t\t\t\tTime is of no importance, only life\n", "\t\t\t\tis important.\n", "\n", "\tThe Priest nods and lowers his eyes.\n", "\n", "\tAngle on: Billy staggering forward, raising his pistol, blinking his\n", "eyes to focus..\n", "\n", "\tA MONDOSHAWAN puts the fourth element in the case The Kommander shuts the\n", "\tcase and looks at the Priest.\n", "\n", "\t\t\t\t\t\tKOMMANDER\n", "\t\t\t\tWhen EVIL returns so shall we.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\t\t(head lowered)\n", "\t\t\t\tWe will be ready, Lord.\n", "\n", "\tBilly suddenly staggers into the room, brandishing his gun.\n", "\n", "\t\t\t\t\t\tBILLY\n", "\t\t\t\tStop.\n", "\n", "\tBilly trips, the gun goes off. He empties the clip. The Mondoshawan\n", "carrying the case crumples to the ground. The wall immediately begins to\n", "close. Billy fires wildly, unable to control the powerful kicking gun.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tNo!!! Don't!!!\n", "\n", "\tThe Priest rushes Billy. The weapon has such a kick to it that Billy\n", "starts shooting into the air, backs up, then stumbles and knocks himself\n", "out. The Priest is on the ground, seriously wounded. So is the Kommander.\n", "The WARRIORS are in a panic.\n", "\n", "\t\t\t\t\t\tCLERK\n", "\t\t\t\tHurry, Kommander! The wall's closing!!!\n", "\n", "\tThe wall continues to close. Sand pours in from everywhere. The vast\n", "room fills up like an hourglass.\n", "\n", "\t\t\t\t\t\tKOMMANDER\n", "\t\t\t\tA mission is a mission, Savoia.\n", "\t\t\t\tYou'll learn that.\n", "\n", "\tThe Kommander picks up the case and reaches the wall but can't get\n", "through it. His\n", "\tarmor is too bulky, the opening too small. He manages to get his arm and\n", "the case through.\n", "\n", "\t\t\t\t\t\tKOMMANDER\n", "\t\t\t\tMy apologies to General Kroi -- and my wife..\n", "\n", "\tThe wall closes, crushing his arm. The CLERK scoops up the case and runs\n", "\tthrough the huge piles of sand.\n", "\n", "14\tEXT. COLONNADE - DAY\n", "\n", "\tThe CLERK boards the ship carrying the case. Omar hides in a corner,\n", "frightened to death, hugging Billy's bag of drawings.\n", "\n", "15\tINT. TEMPLE ROOM - DAY\n", "\n", "\tThe room fills with sand. The Priest's body is soon buried.\n", "\n", "16\tEXT. DESERT - DAY\n", "\n", "\tThe huge ship's main hatch closes.\n", "\n", "17\tEXT. TEMPLE - DAY\n", "\n", "\tThe ship lifts off and speeds away. Omar emerges from the temple gaping\n", "at the ship as it vanishes in the sky.\n", "\n", "18\tEXT. PYRAMIDS\n", "\n", "\tA gigantic shooting star flashes above the pyramids.\n", "\n", "19\tEXT. EARTH ORBIT\n", "\n", "\tThe ship passes in front of us and heads for the stars disappearing at\n", "unbelievable speed. The background is a star-spattered cosmos.\n", "\n", "\tWRITTEN:\t500 YEARS LATER\n", "\n", "\tAnother, more modern, spaceship, fills the screen. A warship belonging\n", "to the Federal Army.\n", "\n", "20\tINT. SPACESHIP CONTROL ROOM\n", "\n", "\tCU of a digital control screen. Three planets projecting three straight\n", "lines that crisscross at one point. Identical to the one observed by the\n", "professor on the temple wall. GENERAL STAEDERT looks out through the\n", "ship's window at one of the three huge planets in eclipse.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tDon't you have anything? Not even\n", "\t\t\t\ta temperature?\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tThe thermo-analyzers have jammed.\n", "\t\t\t\tOne of them reads over a million degrees,\n", "\t\t\t\tthe other's at minus 5000...\n", "\t\t\t\tNever seen anything like it.\n", "\n", "\t\t\t\t\t\tTECHNICIAN\n", "\t\t\t\tIt's taking shape.\n", "\n", "21\tEXT. SPACE\n", "\n", "\tIn the middle of the shadows, a door to the nightmare has just opened.\n", "Evil is back. A round, moving mass, continually changing color.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\t\t(in awe)\n", "\t\t\t\tWhat the hell can it be?\n", "\n", "\t\t\t\t\t\tTECHNICIAN\n", "\t\t\t\tHook-up with the president in one\n", "\t\t\t\tminute, General.\n", "\n", "\tGeneral Staedert remains calm.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\t...Send out a probe.\n", "\n", "22\tINT. PRESIDENT'S OFFICE MANHATTAN\n", "\n", "\tLINDBERG, 50, the president of the United Federations, his features lined\n", "and worn by various delegations, mainly military, enters his office.\n", "There's a crisis in the air. The President's AIDE leans down to his ear.\n", "\n", "\t\t\t\t\t\tAIDE\n", "\t\t\t\tOn air in 30 seconds.\n", "\n", "\tIn the middle of the group is a Priest whose appearance reminds us of\n", "Egypt. A younger man DAVID, 18, shy, a priest-in-training attends the old\n", "man.\n", "\n", "23\tINT. CONTROL ROOM / PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tPresident on line sir..\n", "\n", "\tGeneral Staedert leans over his screen and seems surprised to see the\n", "room but not the president.\n", "\n", "\t\t\t\t\t\tPRESIDENT (O.S.)\n", "\t\t\t\tStaedert, do you read me?\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tI can hear you, Mr. President, but I\n", "\t\t\t\tcan't see you .\n", "\n", "\tThe President grabs the mini-camera on his desk and yanks it around to\n", "face him.\n", "\tHis face fills the screen.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(exasperated)\n", "\t\t\t\tIs that better?\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tPerfect, Mr. President.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tI have to address the Supreme Council\n", "\t\t\t\tin 10 minutes.\n", "\t\t\t\tJust the facts, General.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tThere are no results from the chemical\n", "\t\t\t\tand molecular analysis as of yet, all the\n", "\t\t\t\tcalibers are overshot..we're hoping a\n", "\t\t\t\tthermo nucleatic imaging..\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t(exasperated)\n", "\t\t\t\tWhat you are saying is you don't know\n", "\t\t\t\twhat this..thing..is.\n", "\n", "\tConsternation reigns in the President's office.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tNot yet Sir..The only thing we know is\n", "\t\t\t\tit just keeps getting bigger!\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tOptions.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tWait or act.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tRecommendations.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tMy philosophy Mr. President is shoot first\n", "\t\t\t\task questions later.\n", "\t\t\t\tI don't like uninvited guests.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tGentlemen?\n", "\n", "\t\t\t\t\t\tHEAD CHEMISTS\n", "\t\t\t\tI think it would be foolish to shoot at an\n", "\t\t\t\torganism that seems alive, without first\n", "\t\t\t\ttaking the time to study it more!\n", "\t\t\t\tBesides, it has shown no signs of hostility.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(worried)\n", "\t\t\t\tNo... it's just getting bigger.\n", "\n", "\t\t\t\t\t\tHEAD CHEMISTS\n", "\t\t\t\tSo do people, but that's no reason to shoot\n", "\t\t\t\tthem.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(exasperated)\n", "\t\t\t\tThe security of the Federated Territories is\n", "\t\t\t\tand remains number one priority.\n", "\t\t\t\t\t(to the military)\n", "\t\t\t\tI suppose General Staedert's \"philosophy\" is\n", "\t\t\t\tacceptable to you?\n", "\n", "\tAll the Generals nod \"yes\"\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tAll right, then! Staedert?\n", "\n", "\t\t\t\t\t\tPRIEST (O.S.)\n", "\t\t\t\tMr. President?\n", "\n", "\tThe President scans the room. Staedert remote controls the camera toward\n", "the room.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t...Yes?\n", "\n", "\tThe camera moves up the Priest and we finally discover his face. He is\n", "in his sixties, a shrewd look in his eyes.\n", "\tAround his neck hangs the Kommander's finger, the key to the temple.\n", "\n", "\t\t\t\t\t\tPRIEST\n", "\t\t\t\tCornelius, Vito Cornelius. 50th level parish.\n", "\t\t\t\tI have a different theory to offer you,\n", "\t\t\t\tMr. President.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tI'm listening.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tImagine for a moment that this. thing is not\n", "\t\t\t\tanything that can be identified because it prefers\n", "\t\t\t\tnot to be, because it is the antithesis of all we are.\n", "\t\t\t\tBecause it is evil.. TOTAL EVIL.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(a little sarcastically)\n", "\t\t\t\tOne more reason to shoot first eh?\n", "\n", "\tAll the Generals nod in agreement.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tEvil begets evil, Mr. President.\n", "\t\t\t\tShooting would only make it stronger.\n", "\n", "24\tINT. SPACESHIP\n", "\n", "\t\t\t\t\t\tTECHNICIAN\n", "\t\t\t\tThe probe will attain its objective in\n", "\t\t\t\tfive seconds.\n", "\n", "\tStaedert moves closer to the ship's window.\n", "\n", "25\tEXT. SPACE.\n", "\n", "\tEvil swallows the probe and immediately bubbles over with activity like a\n", "furious volcano.\n", "\n", "26\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tMr. President, we're at crisis point.\n", "\n", "\tThe President looks puzzled.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tYour theory is interesting Father but\n", "\t\t\t\tI don't think we have time to go into it\n", "\t\t\t\tright now!\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tTime is of no importance, Mr. President.\n", "\t\t\t\tOnly life is important.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(exasperated)\n", "\t\t\t\tThat's exactly what we are going to try and do:\n", "\t\t\t\tProtect the lives of some 200 billion of our\n", "\t\t\t\tfellow citizens! General?\n", "\t\t\t\tYou may fire when ready.\n", "\n", "27\tINT. SPACESHIP\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\t\t(cold) (to the CAPTAIN)\n", "\t\t\t\t..Up front loading of a 120 ZZR missile.\n", "\t\t\t\tMarker lights on the objective.\n", "\n", "28\tEXT. OUTSIDE SPACESHIP\n", "\n", "\tAll of a sudden, outside the ship, the strange planet's activity ceases.\n", "A black crust immediately covers it.\n", "\n", "29\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\t\t(consulting new data)\n", "\t\t\t\tIts structure has just solidified on the surface,\n", "\t\t\t\t as if the object felt something. If that's the case,\n", "\t\t\t\twe are undoubtedly dealing with an intelligence.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThe most terrible intelligence imaginable,\n", "\t\t\t\tMr. President.\n", "\n", "\tThe President hesitates.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\t...The ship is in combat formation.\n", "\t\t\t\tThe missile is loaded, General.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(uneasy)\n", "\t\t\t\tStaedert? Give me a minute...\n", "\t\t\t\tI have a doubt.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\t\t(cold)\n", "\t\t\t\tI don't, Mr. President.\n", "\n", "30\tEXT. OUTSIDE SPACESHIP\n", "\n", "\tThe missile explodes from the ship and penetrates its target. The\n", "explosion is swallowed like a fizzy pill in a small glass of water.\n", "Nothing happens. And then the mass grows larger.\n", "\n", "31\tINT. CONTROL ROOM / PRESIDENT'S OFFICE\n", "\n", "\tStaedert looks worried.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tLoad a series of 740 missiles. Maximum\n", "\t\t\t\tshield protection.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tYes, Sir.\n", "\n", "\tThe President is growing ever more worried.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tStaedert? What's going on? Did you\n", "\t\t\t\tdestroy it?\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\tI'm about to, Mr. President.\n", "\n", "32\tEXT. SPACESHIP\n", "\n", "\tA series of three missiles heads for the planet, which absorbs them all.\n", "And literally doubles in size.\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\tThe planet's diameter has greatly\n", "\t\t\t\tincreased and it's moving toward the ship.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tStaedert? Get out of there immediately!\n", "\t\t\t\tI don't want an incident, do you hear me,\n", "\t\t\t\tStaedert?\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\t\t(worried)\n", "\t\t\t\t...What do we have that's bigger than 240?\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tNothing, General.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tStaedert, get out of there! That's an order!\n", "\n", "\tA bead of sweat pearls Staedert's forehead. He is about to give an order\n", "when a gigantic flame emerges from the planet and literally swallows\n", "Staedert's spaceship.\n", "\n", "\t\t\t\t\t\tSTAEDERT\n", "\t\t\t\t\t(eyes wide)\n", "\t\t\t\t... Good God!\n", "\n", "\tThe flame fills the screen with a horrendous NOISE that....\n", "\n", "33\tINT. APARTMENT\n", "\n", "\t... wakes up a man trying to escape from a nightmare. KORBEN DALLAS rubs\n", "his head. Thirty five years old, short hair, powerfully built,\n", "unquestionable charm, good looking in spite of the scars here and there.\n", "The alarm clock is still ringing, it shows the date as March 18, 2359. It\n", "in two in the morning. Ha grabs a cigarette, and stops to look for a\n", "light. He shuts oft the alarm. He hears a cat mewing in the hall. But it\n", "\tstill rings. Korben takes a moment and then realizes it in the phone\n", "that is ringing.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to the cat)\n", "\t\t\t\tI'm coming.\n", "\n", "\tHe grabs the phone and crosses his tiny apartment (27 feet long by 6 feet\n", "wide) heading for the door, patting himself for a light. Behind him, the\n", "bed makes itself automatically.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(on the phone)\n", "\t\t\t\tYeah?\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tHey bud! Finger here.\n", "\n", "\tHe opens the door for the cat and starts to rummage through a drawer for\n", "a match. Out come a handful of war decorations, a hero's collection.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\n", "\t\t\t\t\t(to the cat)\n", "\t\t\t\tHi sweetie!\n", "\n", "\t...A Medal of Honor Certificate to Major Dallas\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tI love you too Major, but you haven't called\n", "\t\t\t\tme that since basic training.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI was talking to the cat.\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tOh, yeah, I forgot.You still prefer\n", "\t\t\t\tyour cat to the real thing.\n", "\n", "\t...A picture of Korben and his ex-wife on their wedding day.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tAt least, the cat comes back.\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\t\t(ironical)\n", "\t\t\t\tYou still pining for that two timing bitch.\n", "\t\t\t\tForget her.\n", "\t\t\t\tThere are a million women out there.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI don't want a million - I just want\n", "\t\t\t\tone. A perfect one.\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tDon't exist bud.\n", "\n", "\t...A picture of Korben and Finger in uniform next to a space fighter.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI just found a picture of you.\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tHow do I look?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLike shit.\n", "\n", "\tKorben finds a box of matches with three matches. He strikes one. It\n", "does not light. Korben opens the fridge, bare, except for an empty can of\n", "GEMINI croquettes.\n", "\tOn the packet is an ad:\n", "\tWIN A DREAM TRIP FOR 2 TO FHLOSTON PARADISE.\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\t Must be an old picture.. Listen, you gotta bring\n", "\t\t\t\tme your hack for the 6 month overhaul. A.S.A.P.\n", "\n", "\tKorben heats up some brackish water.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(sighs)\n", "\t\t\t\tI don't need one.\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tYou forgetting who sat next to you for\n", "\t\t\t\ta thousand missions.\n", "\t\t\t\tI know how you drive.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFinger! I'm driving a cab now, not a\n", "\t\t\t\tspace fighter!!\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tHow many points you got left on your\n", "\t\t\t\tlicense?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(lying)\n", "\t\t\t\tUh... at least fifty.\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tIn your dreams! See you tonight!\n", "\n", "\tFinger has hang up. Korben sighs and does the same. He gets the heated\n", "brackish water and sits down. The cat pounces on the table and meows for\n", "its food. Korben pours half the coffee in the cat's cup.\n", "\n", "\tThe cat meows. Korben taps his cup to the cat's saucer.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tCheers!\n", "\n", "34\tINT. HALL - DAY - OMIT\n", "\n", "35\tINT. GARAGE - DAY - OMIT\n", "\n", "36\tINT. PRESIDENT'S OFFICE\n", "\n", "\tThe office is emptied, only a few army officers remain. An ancient\n", "manuscript, Billy's drawings, sits in front of the President. Cornelius\n", "turns page after page, illustrating his\n", "\tpoint.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(to the President)\n", "\t\t\t\tWe have forty-eight hours, the time it needs\n", "\t\t\t\tto adapt itself to our living conditions.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(worried)\n", "\t\t\t\tAnd then?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tAnd then it will be too late. The goal of\n", "\t\t\t\tevil is to wipe out life! All forms of life.\n", "\t\t\t\tFor all eternity...Life upsets it.\n", "\n", "\tThe President appears upset himself by this image.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tIs there anything that can stop it?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(knowing)\n", "\t\t\t\tYes..thank God..\n", "\n", "37\tEXT. SPACE\n", "\n", "\tThe Mondoshawan spaceship bursts through a star cluster and fills the\n", "screen.\n", "\n", "38\tINT. COCKPIT - OMIT\n", "\n", "39\tINT. PRESIDENT'S OFFICE\n", "\n", "\tThe manuscript is open on the President's desk.. CLOSE ON:\n", "\tBilly's rendering of the Mondoshawan.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(to the President)\n", "\t\t\t\tThe Mondoshawans don't belong to the\n", "\t\t\t\tFederated Territories, but they are peaceful...\n", "\t\t\t\tin their possession are the four elements of life.\n", "\t\t\t\tThese elements when they are gathered around a fifth:\n", "\t\t\t\tThe Supreme Being, ultimate warrior, created to protect\n", "\t\t\t\tlife......\n", "\n", "\tThe SUPREME BEING is standing, as if frozen in armor. All we see is the\n", "bottom half of his body. Big metallic gloves hold the case engraved with\n", "the emblem of the three suns containing the four Sacred Stones.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t..will produce what the ancients called the\n", "\t\t\t\tlight of creation, the light of total goodness\n", "\t\t\t\twhich is the only thing that can defeat EVIL.\n", "\n", "\tThe President points to the spot occupied by the 5th element.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tBut what happens if instead of\n", "\t\t\t\tthis... Ultimate Warrior... it is EVIL\n", "\t\t\t\twho stands here?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tWhite turns to black. Light to Dark.\n", "\t\t\t\tLife to Death. For all eternity.\n", "\n", "\tThe President's nerves quiver.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tSir, we have a Mondoshawan spaceship at\n", "\t\t\t\tthe frontier requesting permission to enter\n", "\t\t\t\t our territory.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tI guess I should make a decision..\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThey are the only ones who can help..\n", "\n", "\t\t\t\t\t\tGENERAL\n", "\t\t\t\tSir..the Mondoshawan do not belong to the\n", "\t\t\t\tfederation. We do not know their intention..\n", "\t\t\t\tI must recommend a full trinuclear assault..\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(yells)\n", "\t\t\t\tDid you see that..thing..swallow our battleship\n", "\t\t\t\tlike a gum drop? You can't even tell me what it is!\n", "\t\t\t\tI ask you for options you give me bullshit.\n", "\t\t\t\tGive them permission to enter our territories\n", "\t\t\t\twith my warmest regards.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(relieved)\n", "\t\t\t\tThank you, Mr. President.\n", "\n", "40\tINT. MONDOSHAWANS SPACESHIP - OMIT\n", "\n", "41\tINT. PRESIDENT'S OFFICE - OMIT\n", "\n", "42\tEXT. SPACE / INT. MONDOSHAWAN SHIP\n", "\n", "\tThe MONDOSHAWAN spaceship zips across the Federated Galaxy.\n", "\tBut it is not alone: Two black warships seem to be dogging it.\n", "\n", "43\tINT. MONDOSHAWAN COCKPIT\n", "\n", "\tThe MONDOSHAWANS have spotted the spacecraft chasing them.\n", "\n", "\t\t\t\t\t\tFIRST OFFICER\n", "\t\t\t\tTwo non-identified ships approaching.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tMust be the welcoming committee.\n", "\n", "44\tINT. WARSHIP COCKPIT\n", "\n", "\tA MANGALORE sits at the controls of the warship. His terrifying features\n", "tell us what sort of welcome they can expect. The pilot fires without\n", "warning.\n", "\n", "45\tEXT. SPACE / INT.\tMONDOSHAWAN SHIP\n", "\n", "\tThe huge ship is badly hit and immediately swerves oft course.\n", "\tPanic aboard the MONDOSHAWAN ship.\n", "\n", "46\tINT. MONDOSHAWAN SHIP\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tWe've been hit! General alert!!!\n", "\n", "\tBlast after blast hits the defenseless ship.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tWe're losing control! We have to land fast!\n", "\n", "\tThe huge ship veers oft course and heads for a small red planet, taking\n", "hit after hit.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tSend out a distress signal!!! Activate\n", "\t\t\t\tthe emergency landing procedure!\n", "\n", "\tThe huge ship approaches the planet at blinding speed.\n", "\n", "\t\t\t\t\t\tFIRST OFFICER\n", "\t\t\t\tImpact in less than ten seconds!\n", "\n", "\tThe red planet looms ever closer.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tTime is of no importance...\n", "\n", "\tThe ship crashes in a gigantic explosion.\n", "\n", "46A\tINT. KORBEN'S APARTMENT - DAY\n", "\n", "\tA thermo nuclear explosion fills a T.V. screen..Which Korben's cat\n", "watches with interest.\n", "\n", "\tKorben is about to exit the apartment.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tDon't watch it all day, it'll rot your\n", "\t\t\t\tmind. Bye sweetie..\n", "\n", "\tIn response, the cat meows. Korben opens the door to..A huge\n", "\tgun, brandished by a nervous MUGGER, pointing right in his face.\n", "\n", "\t\t\t\t\t\tMUGGER\n", "\t\t\t\tThe cash man!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tBeen here long?\n", "\n", "\t\t\t\t\t\tMUGGER\n", "\t\t\t\tDon't fuck with me man or I'll blow\n", "\t\t\t\tyou into tomorrow!\n", "\n", "\tUnperterbed, Korben looks at the mugger's fearsome weapon.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIsn't that a Z140? Alleviated titanium.\n", "\t\t\t\tNeuro charged assault model?\n", "\n", "\t\t\t\t\t\tMUGGER\n", "\t\t\t\t\t(off balance)\n", "\t\t\t\tUh..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou know you could hurt someone with\n", "\t\t\t\tthis puppy..good thing it's not loaded..\n", "\n", "\tThe mugger is lost. He looks at his weapon.\n", "\n", "\t\t\t\t\t\tMUGGER\n", "\t\t\t\tIt's not?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou gotta push the little yellow button...\n", "\n", "\tKorben points to the button on the side of the gun. The mugger takes his\n", "advice.\n", "\n", "\t\t\t\t\t\tMUGGER\n", "\t\t\t\tThanks..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou're welcome..\n", "\n", "\tAnd with lightning speed, Korben blasts the mugger with a straight right\n", "hand, sending him down for the count. Korben retrieves the gun.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t..you know these things are VERY illegal..\n", "\t\t\t\tyou could get in a shit load of trouble..\n", "\t\t\t\tI better hang onto it for you..\n", "\n", "\tAs the mugger clears his head, Korben opens a drawer next to him which is\n", "full of similar guns! The mugger's eyes pop out of his head. He scampers\n", "to his feet and runs off.\n", "\n", "\tKorben shrugs, exits his apartment, and closes the door. The cat watches\n", "a nuclear holocaust on T.V., uninterrupted.\n", "\n", "46B\tINT. KORBEN'S GARAGE - DAY\n", "\n", "\tKorben enters his taxi. A robotic voice greets him.\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\tPlease enter your license..\n", "\n", "\tKorben complies, and starts to push a series of buttons on the dash.\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\tWelcome on board Mr. Dallas..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tHow you doing this morning? Sleep OK?\n", "\t\t\t\tI didn't.\n", "\n", "\tKorben hits a button. The garage door starts to open.\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\tFuel level 6.03..Propulsion 2x4...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI had the worst goddamn nightmare.\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\tYou have nine points left on your license..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThanks for reminding me..\n", "\n", "\tAs the garage door lifts, the Megalopolis that is New York City in the\n", "23rd century comes into view. Startling in it's height, and breath.\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\tHave a nice day..\n", "\n", "\tKorben lets the propulsion build.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tRight..\n", "\n", "\tHe lets the gear slip. The taxi rockets off into the City.\n", "\n", "47\tEXT. TAXI STAND - NIGHT - OMIT\n", "\n", "48\tEXT. RED PLANET-OMIT\n", "\n", "49\tINT. PRESIDENT'S OFFICE\n", "\n", "\tCornelius collapses in a chair.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tWe are lost!\n", "\n", "\t\t\t\t\t\tGENERAL MUNRO\n", "\t\t\t\tMr. President, the attack was launched by two\n", "\t\t\t\tunregistered warships.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tClose all borders and declare a state of\n", "\t\t\t\tgeneral alert.\n", "\n", "\t\t\t\t\t\tGENERAL MUNRO\n", "\t\t\t\tYes, sir.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(to another OFFICER)\n", "\t\t\t\tTry to contact these Mondoshawans. We\n", "\t\t\t\towe them an explanation.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(lost, to himself)\n", "\t\t\t\tWhat are we going to do?\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tThis is government business now.\n", "\t\t\t\tYou ought to go home and get some\n", "\t\t\t\trest, Father.\n", "\n", "\tThe President motions to his guards to come and get Cornelius.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tI promise to keep you informed.\n", "\n", "\tA weary Cornelius leaves the room with David's help.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(to the CAPTAIN)\n", "\t\t\t...Has the rescue team found any survivors?\n", "\n", "50\tEXT. RED PLANET - OMIT\n", "\n", "51\tEXT. RED PLANET ORBIT - OMIT\n", "\n", "52\tINT. LABORATORY 1ST DISTRICT MANHATTAN - DAWN\n", "\n", "\tAn arm, on a surgical cart, moves down the hall of the Nucleological\n", "Center, the most sterile of environments.\n", "\n", "\tPROFESSOR MACTILBURGH, age 60, hurries alongside GENERAL MUNRO.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tThis is all that survived?\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tActually only one cell survived..\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tHave you identified it?\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tIt's not that easy..we've never encountered\n", "\t\t\t\tanything like it before..you see normal human\n", "\t\t\t\tbeings have 40 DNA memo groums..which is\n", "\t\t\t\tmore than enough for any species to perpetuate\n", "\t\t\t\titself..This one has 200,000.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tTalk English Doc.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tThis cell is like a huge library. It has infinite\n", "\t\t\t\tgenetic knowledge stored inside.\n", "\t\t\t\tAlmost like it was...engineered.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tSounds like a freak of nature to me.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tYes... I can't wait to meet him.\n", "\n", "\tThey pass into the lab.\n", "\n", "53\tINT. LABORATORY\n", "\n", "\tThe two enter a cylindrical laboratory. There is a huge glass turbine in\n", "the middle with the metal glove inside. A DNA chain scrolls on the computer\n", "screen.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\t\t(rather fascinated)\n", "\t\t\t\tThe compositional elements of his DNA\n", "\t\t\t\tchain are the same as ours, there are simply\n", "\t\t\t\tmore of them tightly packed.\n", "\t\t\t\tHis knowledge is probably limitless..\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(worried)\n", "\t\t\t\tIs there any danger? Some kind of virus?\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tWe put it through the cellular hygiene detector.\n", "\t\t\t\tThe cell is for lack of a better word... perfect.\n", "\n", "\tMunro hesitates a moment. Then he sighs and uses his personal key to\n", "open the\n", "\tself-destruct box.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tOK, go ahead! But Mr. Perfect better be polite...\n", "\t\t\t\totherwise I turn him into cat food.\n", "\n", "\tMactilburgh starts the operation rolling as Munro puts his hand on the\n", "sell-destruct button, ready to use it. Thousands of cells form in the\n", "heart of the generator, an assemblage of DNA elements. Then the cells move\n", "down a tube, like a fluid, and gather in an imprint of a HUMAN body. Step\n", "by step bones are reconstructed, then the nervous and muscular systems.\n", "Whole veins wrap around the muscles. An entire body is reconstructing before\n", "our very eyes.\n", "\n", "\t\t\t\t\t\tDOCTOR\n", "\t\t\t\tThree seconds to ultra-violet protection.\n", "\n", "\tA shield comes over the reconstructing body and makes it invisible.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\t\t(to Munro)\n", "\t\t\t\t...This is the crucial phase, The reconstruction\n", "\t\t\t\tof pigment. Cells are bombarded with slightly\n", "\t\t\t\tgreasy solar atoms which forces the body cells\n", "\t\t\t\tto react, to protect themselves.\n", "\t\t\t\tThat means growing skin. Clever, eh?\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(disgusted)\n", "\t\t\t\tWonderful!\n", "\n", "\tThe meter slows, drops to zero.\n", "\n", "\t\t\t\t\t\tASSISTANT\n", "\t\t\t\t... End of reconstruction, beginning of\n", "\t\t\t\treanimation .\n", "\n", "\tA whoosh of air in the glass chamber. Captain Munro has his hand on the\n", "self-destruct button, ready to destroy the being that has barely been\n", "reborn.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\t\t(pushing a button)\n", "\t\t\t\tActivate life support system.\n", "\n", "\tAn electrical discharge fills the glass chamber causing the body inside\n", "to jerk.\n", "\tAfter a few moments of silence, the SOUND of a heartbeat fills the room\n", "over the loudspeaker.\n", "\n", "\t\t\t\t\t\tASSISTANT\n", "\t\t\t\tLife support system activated.\n", "\n", "\tThe Supreme Being is alive once again.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tRemove the shield.\n", "\n", "\tThe ASSISTANT automatically removes the ultra-violet shield which slowly\n", "reveals... a woman... nude... young... and very beautiful. Munro stands there\n", "gaping. Not quite his vision of the Supreme Being. Mactilburgh glances\n", "at Munro and gently pushes his hand away from the self-destruct button.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\t\t(with a smile)\n", "\t\t\t\tI told you ... perfect!\n", "\n", "\tMunro is hypnotized by the GIRL's beauty.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t...I'd, uh , like to get a few pictures for the\n", "archives\n", "\t\t\t\tbefore she wakes up.\n", "\n", "\tMactilburgh looks at him with a grin. A remote-control camera approaches\n", "the girl's face, a flash goes off. Blinded by the flash, the girl jumps and\n", "screams. She cowers in a corner, shaking from the cold, darting eyes\n", "everywhere looking for the case she was holding.\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\t\t(very angry)\n", "\t\t\t\tOuacra cocha o dayodomo binay ouacra\n", "\t\t\t\tmo cocha ferji akba ligounai makta keratapla.\n", "\t\t\t\tTokemata tokemata! Seno santonoi-aypa!\n", "\t\t\t\tMinoi ay Cheba! Givomana seno!\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(worried)\n", "\t\t\t\tWhat's she saying?\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\t\t(to his ASSISTANT)\n", "\t\t\t\tActivate the phonic detector.\n", "\n", "\tThe girl kicks the window repeatedly.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tAnd give her a light sedative...\n", "\t\t\t\tand something to wear!\n", "\n", "\tThe ASSISTANT hits a button. A pile of clothes drops out of a trapdoor\n", "in the ceiling. She snatches up the clothes angrily and dresses quickly.\n", "Munro draws closer to the glass window. He watches her dress with\n", "undisguised pleasure.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(to Mactilburgh)\n", "\t\t\t\tThis thing solid?\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\t\t(smiling)\n", "\t\t\t\tAn elephant couldn't crack it.\n", "\n", "\tThe Girl finishes dressing.\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\t\t(angrily)\n", "\t\t\t\tTeno akta chataman assin-omekta!\n", "\n", "\tMunro smiles safely behind his plate glass window.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(with a smile)\n", "\t\t\t\tYou're gonna have to learn to communicate\n", "\t\t\t\tbetter than that angel if you want out.\n", "\n", "\tMunro dangles the key on a chain that will let her out. The girl rams\n", "her fist right through the window. She grabs the key and yanks it. The\n", "chain snaps tight and Munro slams into the window knocking himself out. The\n", "girl puts her hand through the window again, unlocks the chamber and steps\n", "out. She is still bit wobbly on her legs. Two GUARDS try to grab her.\n", "She sends them flying across the room. Mactilburgh is most impressed. He\n", "sets off a general alarm.\n", "\n", "54\tINT. CORRIDOR LABORATORY\n", "\n", "\tThe girl runs through a maze of corridors looking for a way out. A squad\n", "of SECURITY GUARDS appear in front of her and open fire without warning. The\n", "girl takes a leap, grabs an air vent, kicks it out and dives into the air\n", "shaft. The COPS try and jump up to the vent, but none can reach it.\n", "\n", "\t\t\t\t\t\tCHIEF\n", "\t\t\t\tGet me a chair or a stepladder The rest of you\n", "\t\t\t\tgo through the main ventilation!\n", "\n", "55\tINT. VENTILATION DUCT LABORATORY\n", "\n", "\tThe girl moves along unable to see what's ahead of her. She comes to a\n", "dead-end, a grill that leads outside. She pushes it out and exits onto\n", "the ledge.\n", "\n", "56\tEXT. LEDGE LABORATORY - DAWN\n", "\n", "\tShe has exited to a ledge on the 450th floor of a building, right in the\n", "middle of Manhattan, which we discover for the first time. The city has\n", "become monstrous. Buildings rise 600 stories. Cars fly. Subways run\n", "vertically...The girl edges along the narrow ledge, unfazed by the height.\n", "The CHIEF leans out the vent, looking out into the void.\n", "\n", "\t\t\t\t\t\tCHIEF\n", "\t\t\t\t\t(to his men)\n", "\t\t\t\tGo on follow her!\n", "\n", "\tThe COPS stare into the gaping void.\n", "\n", "\t\t\t\t\t\tCOP\n", "\t\t\t\t...No way.\n", "\n", "\tThe CHIEF angrily pulls out his gun and shoots at the girl who ducks\n", "around the corner of the building. Unfortunately the other side in full of\n", "cops as well. A flying police car zooms up in front of her, sirens\n", "blaring.\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tThis in the police. Your status is illegal.\n", "\t\t\t\tPlease put up your hands and follow our\n", "\t\t\t\tinstructions!\n", "\n", "\tThe girl feels trapped. She looks down into the endless 450 below and\n", "all the cars flying underneath her. Then she raises her arms... and dives\n", "off.\n", "\n", "57\tINT. POLICE CAR - NIGHT\n", "\n", "\t\t\t\t\t\tCOP\n", "\t\t\t\t\t(in the car.)\n", "\t\t\t\tChrist! She dove off!\n", "\n", "\tIn a panic, the COP makes a wrong turn. The girl falls for several\n", "seconds.\n", "\tShe lands on the roof of a flying cab.\n", "\n", "58\tINT. CAB - NIGHT\n", "\n", "\tKorben tries to control his car, reeling from the impact.\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tYou have just had an accident.\n", "\t\t\t\tSeven points have been temporarily\n", "\t\t\t\tremoved...\n", "\n", "\tKorben manages to stop his cab, pulls over to the side.\n", "\n", "\t\t\t\t\t\tVOICE / KORBEN\n", "\t\t\t\tYou have one point left on your license.\n", "\t\t\t\tHave a good day.\n", "\n", "\tKorben sighs and looks in the back seat to see what the damages are. The\n", "girl, a bit dazed (who wouldn't be), emerges from the debris and sits up.\n", "There's some blood on her face. Korben is stunned. The girl's still alive\n", "and... so beautiful. His heart heads for a meltdown.\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\tAkina delutan, nou-shan.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(lost)\n", "\t\t\t\t...'Scuse me?\n", "\n", "\tA police car with wailing sirens halts in front of Korben.\n", "\n", "\t\t\t\t\t\tCOP\n", "\t\t\t\t\t(over a loudspeaker)\n", "\t\t\t\tYou have an unauthorized passenger in your\n", "\t\t\t\tvehicle. We are going to arrest her.\n", "\t\t\t\tPlease leave your hands on the wheel.\n", "\t\t\t\tThank you for your cooperation.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(obeying)\n", "\t\t\t\tSorry, Hon, but I only got one point left\n", "\t\t\t\ton my license and I gotta get to the garage!\n", "\n", "\tThe police car presses up against the cab. Doors slide open. Huge guns\n", "point at her. Korben feels lousy. The girl's helpless, there are tears in\n", "her eyes, she looks exhausted.\n", "\tKorben glances at her in the rear view mirror. She's looking all around\n", "to find something to help her communicate with him.\n", "\n", "\tHer POV: an ad on the back of the seat. An 800 number to help an\n", "orphanage. A teary photo of a kid over the words Please Help. She shoots\n", "to Korben a look of pure distress.\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\t\t(irresistible)\n", "\t\t\t\tPlease... HELP...\n", "\n", "\tKorben can't resist her plea.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tDon't put me in this position...\n", "\t\t\t\tI can't... I'm late as it is...\n", "\n", "\tBut he cannot say no to her eyes.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFinger's gonna kill me.\n", "\n", "\tKorben shuts oft the meter and floors it, sideswiping the police car as\n", "he roars away.\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tYour license has been revoked.\n", "\t\t\t\tWould you please....\n", "\n", "\tKorben whips out a gun and shatters the loudspeaker.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI hate when people cry...\n", "\t\t\t\tI got no defense...\n", "\n", "\tThe police car takes out after him, sirens screeching. An insane chase\n", "ensues.\n", "\n", "59\tINT. NEW YORK STREETS - DAY\n", "\n", "\tKorben and his flying taxi are absolute masters of the air. The cops\n", "have trouble following him but then another cop car comes to join in the\n", "fun. Korben drives like a man possessed, nothing can stop him. Except the\n", "dead-end he's just come up against.\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\tDaya deo dono Dato. Dalutan!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIt there's one thing I don't need advice on,\n", "\t\t\t\tit's how to drive.\n", "\n", "\tKorben turns his cab sideways and scrapes through a narrow passageway,\n", "\tripping his taxi light from the roof. The police car smashes into the\n", "wall. The other one brakes just in time.\n", "\n", "\t\t\t\t\t\tCOP\n", "\t\t\t\tShit! Attention all-patrol cars!\n", "\n", "\tThe car makes a U-turn, looking for a wider passageway.\n", "\n", "60\tEXT. NEW YORK STREET\n", "\n", "\tThe police car roars up, sirens screaming then slows down and checks out\n", "a dead-end flanked by a large vertical neon billboard. The dead-end is empty .\n", "Korben's cab is hidden vertically behind the billboard. Seeing nothing, the\n", "\tpolice drive away.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWe'll wait till things quiet down a bit.\n", "\t\t\t\tYou mind?\n", "\n", "\tThe girl grabs his shirt collar and pulls him close, whispers in his ear.\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\t\t(weak)\n", "\t\t\t\t...Priest...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou're not that bad... Come on we'll\n", "\t\t\t\tget you to a doctor.\n", "\n", "\tThe girl hands him the handle of the case, struck with the three Egyptian\n", "suns.\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\t\t(weak)\n", "\t\t\t\tVito... Cor... Ni-lious... Priest...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tVito Cornelius?\n", "\n", "\tThe girl nods, then faints. Korben is somewhat lost faced with so much\n", "mystery.\n", "\n", "61\tINT. CORNELIUS' APARTMENT - DAY\n", "\n", "\tThe door opens. Korben is there with the unconscious girl in his arms.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(embarrassed)\n", "\t\t\t\tExcuse me, I'm looking for a priest.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(tired)\n", "\t\t\t\tWeddings are one floor down.\n", "\t\t\t\tCongratulations.\n", "\n", "\tCornelius closes the door. The doorbell RINGS again.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tShe's not my bride, she's my fare.\n", "\t\t\t\tShe's looking for this Vito Cornelius.\n", "\t\t\t\tAccording to the phone guide he lives here.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(curious)\n", "\t\t\t\tThat's me. But I don't know who she is...\n", "\t\t\t\twhere did you find her?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tShe dropped in on me... holding this.\n", "\n", "\tKorben hands him the metal handle with the three Egyptian suns, stamped\n", "on it.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(staggered)\n", "\t\t\t\tThe fifth element.\n", "\n", "\tHe faints dead away. Korben, with the girl still in his arms looks\n", "around helpless.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(sighing)\n", "\t\t\t\tFinger's gonna kill me...\n", "\n", "62\tINT. CORNELIUS' APARTMENT - DAY\n", "\n", "\tIn his armchair, Cornelius gets woken by a slap in the face.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(with a start)\n", "\t\t\t\tWho are you?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI brought the girl remember?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThe girl?\n", "\n", "\tCornalius gets up. He looks at the handle.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYeah! She dropped in on me. I mean\n", "\t\t\t\ton my taxi... talking... this... this bizarre\n", "\t\t\t\tlanguage...\n", "\n", "\tAnd then it dawns on Cornelius who the girl is.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(eyes riveted on her)\n", "\t\t\t\tHe's a she!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(bemused)\n", "\t\t\t\tYou noticed...\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(face shining)\n", "\t\t\t\tThere's not a moment to lose! Wake her up,\n", "\t\t\t\tbut be gentle about it! This woman is mankind's\n", "\t\t\t\tmost precious possession! She is... perfect!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tSo you do know her.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tUh yes, we're cousins..distant cousins..\n", "\n", "\tCornelius runs into the next room. Korben looks at the girl, goes to\n", "slap her, then changes his mind.\n", "\n", "\tHer beauty troubles him. He hesitates, then, gently caresses her cheek.\n", "Her skin seems so soft, so fragile.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tPerfect...\n", "\n", "63\tINT. SMALL ROOM\n", "\n", "\tDavid, is mending a cassock when Cornelius bursts into the room out of\n", "breath.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tIt's a miracle!!!\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\t\t(worried)\n", "\t\t\t\tWhat is?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(babbling crazily)\n", "\t\t\t\tI can't wear these clothes! This calls\n", "\t\t\t\tfor dignity!\n", "\t\t\t\tI have to dress the part!\n", "\n", "\tHe opens a closet filled with identical robes and plunges in,\n", "disappearing as David looks on, uncomprehending.\n", "\n", "64\tINT LIVING ROOM. CORNELIUS' APARTMENT\n", "\n", "\tKorben gently kisses the girl's cheeks, but she doesn't respond. He\n", "looks around then kisses her on the lips. The girl's eyes snap open.\n", "When Korben straightens up he discovers his own gun jammed under his\n", "chin.\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\t\t(angry)\n", "\t\t\t\tEto Akta Gamat!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(embarrassed)\n", "\t\t\t\tI'm sorry, it's just that... I was\n", "\t\t\t\ttold to wake you up gently, so I figured...\n", "\n", "\tThe girl pauses a moment. She stares at him, looks puzzled.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou're right, I was wrong! I shouldn't\n", "\t\t\t\thave kissed you... especially since we\n", "\t\t\t\thaven't been introduced and...\n", "\t\t\t\t\t(he pulls out a business card)\n", "\t\t\t\tHere, it's a bit late, but... my name is\n", "\t\t\t\tKorben, Korben Dallas.\n", "\t\t\t\tKeep it, you never know, maybe... you'll\n", "\t\t\t\tneed a cab one day. I'll be happy to open\n", "\t\t\t\tthe door this time!.\n", "\n", "\tThe girl hesitates, then snatches the card like a wild animal.\n", "\n", "65\tINT. SMALL ROOM\n", "\n", "\tCornelius is lost in the closet.\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\tFather, will you please explain what's\n", "\t\t\t\tgoing on?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThe Supreme Being, the fifth element is here,\n", "\t\t\t\tin our parish!!! It's a miracle!!!\n", "\n", "66\tINT. LIVING ROOM\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...What's your name?\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\t\t(after a moment)\n", "\t\t\t\tLeeloo Minai Lekarariba-Laminai-Tchai\n", "\t\t\t\tEkbat De Sebat.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(polite)\n", "\t\t\t\tHey, that's... cute... Do you have a nickname,\n", "\t\t\t\tsomething a little... shorter?\n", "\n", "\t\t\t\t\t\tGIRL\n", "\t\t\t\t...Leeloo.\n", "\n", "\tKorben is falling in love.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThat's... really cute...\n", "\n", "\tCornelius bursts into the room. She turns the gun on him.\n", "\tHe bows before her.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tAppipulai Leeloo Minai..\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tCorn-i-Lius?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(bowing)\n", "\t\t\t\tAt your service.\n", "\n", "\tLEELOO lowers her guard starts to laugh. An irresistible childish laugh.\n", "\tKorben smiles.\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\tFather. You sure she's the Supreme Being?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tAbsolutely sure There's the triple suns on\n", "\t\t\t\ther gloves!\n", "\n", "\tDavid bows low, but his eyes glance up at Leeloo. Cornelius begins to\n", "lead Korben toward the door, hustling him out.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThey all like this in your family, father?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tShe's an exception..\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThank you so much for your help Mr...?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tDallas. Korben Dallas.\n", "\n", "\tCornelius takes his arm. Leeloo stops laughing when she sees Korben\n", "leaving.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tYes. That's fine! Thank you very much.\n", "\t\t\t\tA thousand times over!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI might call to check up on her,\n", "\t\t\t\tyou know... to see if she's better?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tShe's fine, really..don't you worry..\n", "\t\t\t\tjust needs some rest..she's had a very long trip.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI know. I was there when she arrived.\n", "\n", "\tCornelius is about to close the door. Korben's hand blocks it.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tExcuse me! Just one thing! She said something\n", "\t\t\t\tto me a while ago and... I don't really get it...\n", "\t\t\t\tAkta Gamat?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tIt means, \"Never without my permission\".\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThat's what I thought.\n", "\n", "\tCornelius slams the door in his face.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Thanks.\n", "\n", "66A\tINT. KORBEN'S APARTMENT - DAY\n", "\n", "\tKorben beads down the hallway. He passes his NEIGHBOR.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tEvening...\n", "\n", "\t\t\t\t\t\tNEIGHBOR\n", "\t\t\t\tFuck you!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Thanks... You, too.\n", "\n", "\tKorben enters his-apartment.\n", "\n", "66B\tINT.. KORBEN'S APARTMENT - DAY\n", "\n", "\tThe door slides back and the cat comes rubbing up against him, tail in\n", "the air.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tOh god. I forgot your food ... I'm really sorry!\n", "\t\t\t\tHow about a nice Thai nosh to apologize?\n", "\t\t\t\tHow does that sound, huh?\n", "\n", "\tThe cat meows, appeased, just an the phone rings.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tHello?\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tHey bud...I'm waiting all day here.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFinger..man..I'm sorry..listen..I was on the way\n", "\t\t\t\tover but I had a fare fall into my lap..\n", "\t\t\t\ty'know one of those big fares you just\n", "\t\t\t\tcan't resist..\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\t\t(suspicious)\n", "\t\t\t\tSo, just how big was this fare?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t5'7\", green eyes... long legs... great skin...\n", "\t\t\t\tperfect..\n", "\n", "\tKorben takes out a cigarette.\n", "\n", "\t\t\t\t\t\tFINGER (V.O.)\n", "\t\t\t\tUh huh..and I don't suppose you got the\n", "\t\t\t\tname of this..perfect fare..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(dreamy)\n", "\t\t\t\tLeeloo..\n", "\n", "67\tINT. GARAGE - DAY - OMIT\n", "\n", "68\tINT. CORNELIUS' APARTMENT - DAY\n", "\n", "\tLeeloo has a towel wrapped around her, it looks like she just took a\n", "shower. She sits in front of a computer wolfing down some chicken. Data\n", "scrolls by on the screen. David watches from the corner, in awe.\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\tWhat's she doing?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tLearning our history!\n", "\t\t\t\tThe last 5000 years that she missed!\n", "\t\t\t\tShe's been out of circulation a while,\n", "\t\t\t\tyou know.\n", "\n", "\tLeeloo breaks into her childish laughter.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tWhat're you laughing about?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(pronouncing badly)\n", "\t\t\t\tNapoleon... small.\n", "\n", "\tShe laughs again and tosses some capsules into the microwave.\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\t\t(hesitant)\n", "\t\t\t\tUh father, I know she's been through a lot...\n", "\t\t\t\tbut the sacred stones..we don't have much\n", "\t\t\t\ttime..\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tYes. Of course..\n", "\n", "\tLeeloo takes her plate out of the microwave. A steaming plate heaped\n", "with chicken and exotic vegetables.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tLeeloo..I'm sorry to interrupt you but..\n", "\n", "\tShe sits back down in front of the screen and chomps away heavily on her\n", "second chicken. Cornelius sits opposite her. and holds up the case\n", "handle.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(serious)\n", "\t\t\t\tThe case..with the stones...\n", "\t\t\t\tWhere is it?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tSan Agamat chay bet... envolet!\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThe case was stolen?\n", "\n", "\tLeeloo nods her head, quite unperturbed and continues to devour the food\n", "in front of her.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(shocked)\n", "\t\t\t\tWho in gods name would do such\n", "\t\t\t\ta thing?\n", "\n", "69\tINT. CORRIDOR. ZORG'S WAREHOUSE - DAY\n", "\n", "\tCLOSE ON: A pair of feet limping heavily. A MAN comes alongside them.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tExcuse me sir, the council is worried about\n", "\t\t\t\tthe economy heating up. They wondered if\n", "\t\t\t\tit would be possible to fire 500...\n", "\n", "\tThey reach a door at the end of the corridor. Zorg enters a code.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tFire 1000.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tBut... 500 is all they need, sir.\n", "\n", "\tZORG turns slowly. A small scar across run across his face, his eye\n", "stutters.\n", "\tThis is not a man to cross, or contradict.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\t1000! Fine, sir!\n", "\t\t\t\tSorry to have disturbed you.\n", "\n", "\tThe door opens...\n", "\n", "70\tINT. CORNELIUS' APARTMENT - DAY\n", "\n", "\t... and David enters carrying a bundle of clothes.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThere was this guy with a limp who\n", "\t\t\t\tcame a month ago..said he was an art\n", "\t\t\t\tdealer ... Asking all these questions about\n", "\t\t\t\tthe Sacred Stones..at the time I didn't think\n", "\t\t\t\tanything of it.. What was his name? I'm so\n", "\t\t\t\tbad with names...\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\t\t(to Leeloo, timid)\n", "\t\t\t\tI didn't know your size.\n", "\n", "\tLeeloo is happy. She pulls off the towel and stands there nude. Cornelius\n", "and David turn away.\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\tThey really made her...\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tPerfect.\n", "\n", "\tLeeloo finishes dressing. She is delighted.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(to David)\n", "\t\t\t\tDomo danko!\n", "\n", "\tDavid smiles, dumb with admiration. Cornelius comes over.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tLeeloo? The Stones...\n", "\t\t\t\tWe must get them back.\n", "\n", "\tLeeloo settles down, sits at the computer and turns it on.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tIkset-kiba. Me imanetaba oum dalat!\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tYou know exactly where they are!\n", "\n", "71\tINT. WAREHOUSE - DAY\n", "\n", "\tA group of handsome WARRIORS approaches. AKNOT, their leader has the\n", "sacred case in his hands. The metal handle is missing but the second\n", "metal glove is still grasping the case.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(pretending to be worried)\n", "\t\t\t\tAknot? Is that you?\n", "\n", "\tThe LEADER nods. A disgusted look stamps Zorg's features.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...What an ugly face! Doesn't suit you at all!\n", "\t\t\t\tTake it off...\n", "\n", "\tAKNOT's face burns away revealing the head of a monstrous MANGALORE.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tThat's better! Never be ashamed of\n", "\t\t\t\twho you are...\n", "\t\t\t\tYou're warriors... be proud...\n", "\n", "\tAKNOT says nothing, but if his eyes could talk!\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tSo what if the Federal Army crushed your\n", "\t\t\t\tentire race and scattered your people to the\n", "\t\t\t\twind...\n", "\t\t\t\tYour time for revenge is at hand...\n", "\t\t\t\tVoila... the ZF1.\n", "\n", "\tHe takes out a weapon from one a crate and goes into a sales pitch.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(very fast)\n", "\t\t\t\t...It's light... the handle's adjustable for\n", "\t\t\t\teasy carrying... good for righties and lefties.\n", "\n", "\tMeanwhile, two MEN set up a mannequin rigged with various defense\n", "mechanisms at the far end of the warehouse.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t... Breaks down into four parts, undetectable by\n", "\t\t\t\tX-rays.. It's the ideal weapon for quick, discreet\n", "\t\t\t\tinterventions. A word on fire power: Titanium\n", "\t\t\t\trecharger. 3000 round clip with bursts of 3 to 300.\n", "\t\t\t\tWith the replay button, another Zorg innovation,\n", "\t\t\t\tit's even easier... one shot.\n", "\n", "\tHe fires at the mannequin.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t... and replay sends every following shot\n", "\t\t\t\tto the same location...\n", "\n", "\tZorg spins around, the rounds all hit the mannequin.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(even faster)\n", "\t\t\t\tI recharge, but the enemy has launched a\n", "\t\t\t\tcowardly sneak attack from behind, the\n", "\t\t\t\tautomirror takes care of that. Gives me the\n", "\t\t\t\ttime to turn around and finish the job.\n", "\t\t\t\t300 round bursts, then there are the Zorg oldies...\n", "\n", "\tHe fires off each item he names.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...Rocket launcher. The always efficient\n", "\t\t\t\tflame thrower... My favorite.\n", "\t\t\t\tOur famous net launcher, the arrow launcher,\n", "\t\t\t\twith exploding or poisonous gas heads - very\n", "\t\t\t\tpractical.\n", "\t\t\t\tAnd for the grand finale, the all-new ice-cube\n", "\t\t\t\tsystem!\n", "\n", "\tThe mannequin has been blasted into a pile of ashes covered by a net,.\n", "stuck with arrows, the whole mess frozen solid. He tosses the weapon into\n", "AKNOT's hands.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...Four full crates, delivered right on time!\n", "\t\t\t\tWhat about you, my dear Aknot, did\n", "\t\t\t\tyou bring me what I asked you for?\n", "\n", "\tAKNOT sets the case on a crate. Zorg gloats while stroking the case.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...Magnificent.\n", "\n", "\tZorg smiles, takes a deep breath, opens the case. It's empty\n", "\n", "72\tINT. CORNELIUS' APARTMENT - DAY\n", "\n", "\tLeeloo breaks into her childish laughter once again.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(astonished)\n", "\t\t\t\tWhat do you mean empty?\n", "\n", "73\tINT. ZORG'S WAREHOUSE - DAY\n", "\n", "\tAKNOT looks into the case. Things grow tense.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tAlright..I've got an open mind here..\n", "\t\t\t\tanyone care to explain?\n", "\n", "74\tINT. CORNELIUS' APARTMENT - DAY\n", "\n", "\tLeeloo explains what happened in her language.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(translating)\n", "\t\t\t\tShe says that the Guardians never really had\n", "\t\t\t\tmuch faith in humans. They were afraid of\n", "\t\t\t\tbeing attacked. The stones were given to someone\n", "\t\t\t\tthey could trust who took another route.\n", "\t\t\t\tShe's supposed to contact this person in a little less\n", "\t\t\t\tthan twelve hours from now in a hotel.\n", "\t\t\t\tShe's looking for the address!\n", "\n", "\tA map of the stars flashes onto the screen, Leeloo points.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tDot!\n", "\n", "\tThe little group comes over to look.\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\tPlanet Fhloston, in the Angel constellation\n", "\n", "\tCornelius plops down into his armchair.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t...We're saved!\n", "\n", "75\tINT. ZORG'S WAREHOUSE - DAY\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tI'm fucked!\n", "\n", "\tZorg calmly closes the case and gives Aknot a blood-chilling stare.\n", "\n", "\t\t\t\t\t\tAKNOT\n", "\t\t\t\tYou asked for a case.\n", "\t\t\t\tWe brought you a case.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(shouting)\n", "\t\t\t\tA case with four stones in it. Not one!\n", "\t\t\t\tNot two or three! But four!!! Four stones!!!\n", "\t\t\t\tWhat the fuck am I supposed to do with an\n", "\t\t\t\tEMPTY case?!!\n", "\n", "AKNOT's men grow edgy.\n", "\n", "\t\t\t\t\t\tAKNOT\n", "\t\t\t\t\t(tense)\n", "\t\t\t\t...We are warriors, not merchants!\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(humored)\n", "\t\t\t\tBut you can still count. Look...\n", "\t\t\t\tmy fingers.\n", "\n", "\tHe holds up four fingers.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...Four stones, four crates... Zero stones...\n", "\t\t\t\t\t(yelling)\n", "\t\t\t\tZERO CRATES!!!\n", "\t\t\t\t\t(to his men)\n", "\t\t\t\tPut everything back, we're outta here.\n", "\n", "\tAKNOT's warriors turn their weapons on Zorg.\n", "\n", "\t\t\t\t\t\tAKNOT\n", "\t\t\t\t\t(icily)\n", "\t\t\t\tWe risked our lives. I believe a\n", "\t\t\t\tlittle compensation is in order.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(smiling)\n", "\t\t\t\tSo, you are a merchant, after all.\n", "\t\t\t\t\t(to his men)\n", "\t\t\t\tLeave them one crate. For the cause!\n", "\n", "\tZorg's men leave a crate and exit with the other three.\n", "\n", "76\tEXT. OUTSIDE ZORG'S WAREHOUSE - DAY\n", "\n", "\tZorg walks along the street to his limo. RIGHT ARM carries the empty\n", "case.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tI don't like warriors! They're too\n", "\t\t\t\tnarrow-minded, no sublety. Worse,\n", "\t\t\t\tthey fight for hopeless causes..for honor!\n", "\t\t\t\tHonor has killed millions of people but\n", "\t\t\t\thasn't saved a single one.\n", "\t\t\t\t\t(pause)\n", "\t\t\t\tYou know what -- do I like though, I like killer.\n", "\t\t\t\t A real dyed in the wool killer. Cold-blooded.\n", "\t\t\t\tClean. Methodical. Thorough. A killer, when\n", "\t\t\t\the picked up the ZF1, would've immediately\n", "\t\t\t\tasked about the little red button on the bottom of\n", "\t\t\t\tthe gun.\n", "\n", "77\tINT. HALLWAY ZORG'S WAREHOUSE - DAY\n", "\n", "\tThe warriors have all taken a weapon. One of them inspects his ZF1. He\n", "turns it over and notices the little red button. He presses it.\n", "\n", "78\tEXT. OUTSIDE ZORG'S WAREHOUSE - DAY\n", "\n", "\tBehind Zorg, an ear-shattering explosion levels the warehouse.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(impassive)\n", "\t\t\t\tBring the priest.\n", "\n", "79\tINT. GARAGE - DAY - OMIT\n", "\n", "79A\t INT. KORBEN'S APARTMENT - DAY\n", "\n", "\tKorben is finishing a Thai meal, cooked by a Thai on his mini restaurant\n", "anchored at the window. The cat eats next to Korben, contented.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tSo you forgive me?\n", "\n", "\tThe cat meows just as a red light blinks, announcing the arrival of a\n", "message in a glass tube. Korben ignores it.\n", "\n", "\t\t\t\t\t\tTHAI\n", "\t\t\t\tNot going to open?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI've never gotten a message that wasn't\n", "\t\t\t\tbad news.\n", "\n", "\t\t\t\t\t\tTHAI\n", "\t\t\t\tHow someone strong like you scared from\n", "\t\t\t\ta message? Is good news I sure!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThe last two messages I got? The first one\n", "\t\t\t\twas from my wife telling me she was leaving!\n", "\t\t\t\tAnd the second was from my lawyer telling me\n", "\t\t\t\the was leaving too... with my wife.\n", "\n", "\t\t\t\t\t\tTHAI\n", "\t\t\t\tYou right that is bad.. but mathematically\n", "\t\t\t\tluck must change!\n", "\t\t\t\tGrandfather say: \"It never rain every day.\"\n", "\t\t\t\tThis is good news guarantee.. I bet you lunch!\n", "\n", "\tKorben hesitates, then gives the envelope to the Thai, who opens it with\n", "a big smile that fades as reads the contents aloud.\n", "\n", "\t\t\t\t\t\tTHAI\n", "\t\t\t\t...You're fired. Oh!\n", "\n", "\tKorben smiles at him.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tAt least I won lunch.\n", "\n", "\t\t\t\t\t\tTHAI\n", "\t\t\t\tGood philosophy..see good in bad..\n", "\t\t\t\tI like..I prepare number one dessert..\n", "\t\t\t\tspecial for you and pussy..\n", "\n", "\tThe cat meows.\n", "\n", "79B\tINT. CORNELIUS' APARTMENT - DAY\n", "\n", "\tLeeloo is polishing of' an immense pile of dessert as David bangs away at\n", "the computer.\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\tI got it! Everything here we need to\n", "\t\t\t\tknow about Fhloston Paradise Hotel...\n", "\t\t\t\tand a detailed blueprint of the entire hotel!\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tGood work, my son. Now all we need is\n", "\t\t\t\ta way to get there.\n", "\n", "\tThe doorbell rings.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tI'll get it. Finish your work my son.\n", "\n", "\tCornelius opens to Right Arm with armed escort.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tFather Cornelius?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tMy son?\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tMr. Zorg would like a word with you.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tMr. Who?\n", "\n", "80\tEXT. MANHATTAN - OMIT\n", "\n", "81\tINT. HALLWAY CORNELIUS APARTMENT - OMIT\n", "\n", "82\tINT. REFRIGERATION ROOM - OMIT\n", "\n", "83\tINT. ZORG'S OFFICE\n", "\n", "\tZorg turns to Cornelius.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tZorg. Jean-Baptiste Emmanuel Zorg...\n", "\t\t\t\tnice to see you again\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tI remember you now..the so called\n", "\t\t\t\tart dealer.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tI'm glad you got your memory back, Father...\n", "\t\t\t\tBecause you're going to need it...\n", "\t\t\t\tWhere are the stones?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t...Why on earth do the stones interest you?\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tPersonally, they are of no interest to me,\n", "\t\t\t\tI'd rather sell weapons..but I have a customer...\n", "\t\t\t\tso tell me...\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tEven it I did know where the stones were\n", "\t\t\t\tI would never tell somebody like you.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tWhy? What's wrong with me?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t...I'm a priest! I'm here to serve life,\n", "\t\t\t\tAll you want to do is destroy it.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tAh, Father... You are so wrong.\n", "\t\t\t\tLet me explain...\n", "\n", "\tZorg leads Cornelius into his inner office.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...would you like a drink?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tNo thank you.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tFollow me.. Life, which you so nobly serve,\n", "\t\t\t\tcomes from destruction. Look at this empty\n", "\t\t\t\tglass.\n", "\n", "\tZorg pushes the glass with his finger.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tHere it is... peaceful... serene...\n", "\t\t\t\tbut if it is...\n", "\n", "\tZorg pushes the glass off the table. It shatters on the floor.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tDestroyed...\n", "\n", "\tSmall individual robots, both free-wheeling and integrated, come zipping\n", "out to clean up the mess.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...Look at all these little things...\n", "\t\t\t\tso busy all of a sudden.\n", "\t\t\t\tNotice how each one is useful.\n", "\t\t\t\tWhat a lovely ballet, so full of form\n", "\t\t\t\tand color. So full of..life!\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThey are robots!\n", "\n", "\tA SERVANT comes in pours water in another glass. Zorg tosses a cherry\n", "into it.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tYes but... by that simple gesture of destruction.\n", "\t\t\t\tI gave work to at least fifty people today. The\n", "\t\t\t\tengineers, the technicians, the mechanics. Fifty\n", "\t\t\t\tpeople who will be able to feed their children so\n", "\t\t\t\tthey can grow up big and strong. Children who\n", "\t\t\t\twill have children of their own, adding to the great\n", "\t\t\t\tcycle of life!\n", "\n", "\tCornelius sits in silence.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tFather, by creating a little destruction,\n", "\t\t\t\tI am, in fact, encouraging life! So, in\n", "\t\t\t\treality, you and I are in the same business!\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tDestroying a glass is one thing..killing people\n", "\t\t\t\twith the weapons you produce is quite another.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tLet me reassure you Father..I will never kill\n", "\t\t\t\tmore people in my entire life than religion has\n", "\t\t\t\tkilled in the last 2000 years.\n", "\n", "\tZorg smiles, holds up the glass and takes a drink.\n", "\tUnfortunately, he chokes on the cherry. Unable to breathe, Zorg starts\n", "to panic.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(mocking)\n", "\t\t\t\tWhere's the robot to pat your back?\n", "\n", "\tZorg falls, writhing, on his desk, inadvertently hitting buttons which\n", "trigger a slew of little mechanisms. They pop out all over the desk.\n", "True chaos reigns. Even a cage appears, holding a Souliman Aktapan, a fat\n", "multicolored beastie, PICASSO, who seems surprised to be out in daylight. He\n", "licks his half-dead master in thanks. Cornelius gets up and walks around\n", "the desk. Zorg motions for help.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tCan I give you a hand?\n", "\n", "\tCornelius whacks him on the back. The cherry comes flying out. Zorg\n", "regains control of himself. GUARDS come running in.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tYou saved my life... So, I'm going\n", "\t\t\t\tto spare yours.\n", "\t\t\t\t\t(to the GUARDS)\n", "\t\t\t\tThrow him out!\n", "\n", "\tThe GUARDS throw Cornelius out.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tYou are a monster, Zorg!\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(complimented)\n", "\t\t\t\tI know...\n", "\n", "\tThe GUARDS drag Cornelius out of the office.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...Torture whoever you want, the\n", "\t\t\t\tpresident if you have to but I want\n", "\t\t\t\tthose Stones. You have an hour.\n", "\n", "\tRight Arm salutes and hurries out of the office.\n", "\n", "84\tEXT. MANHATTAN STREET - OMIT\n", "\n", "85\tINT. ZORG'S OFFICE - OMIT\n", "\n", "86\tINT./EXT. STREET / TAXI - OMIT\n", "\n", "87\tINT. REFRIGERATION ROOM - OMIT\n", "\n", "88\tINT. ZORG'S OFFICE - DAY - OMIT\n", "\n", "89\tINT. HALLWAY - OMIT\n", "\n", "90\tINT. REFRIGERATION ROOM - OMIT\n", "\n", "91\tINT. TAXI - OMIT\n", "\n", "92\tINT. ROOM - DAY - OMIT\n", "\n", "93\tINT. TAXI - OMIT\n", "\n", "94\tINT. ROOM - DAY - OMIT\n", "\n", "95\tINT. TAXI - OMIT\n", "\n", "96\tINT. SHAFT - OMIT\n", "\n", "97\tINT. GARAGE - OMIT\n", "\n", "98\tINT. ZORG'S OFFICE - OMIT\n", "\n", "99\tINT. GARAGE - OMIT\n", "\n", "100\tINT. LOCKER ROOM GARAGE - OMIT\n", "\n", "101\tINT. GARAGE - OMIT\n", "\n", "102\tINT. LOCKER ROOM GARAGE - OMIT\n", "\n", "103\tINT. KORBEN'S BUILDING - DAY - OMIT\n", "\n", "104\tINT. KORBEN'S APARTMENT - OMIT\n", "\n", "105\tEXT. / INT. SPACE / SPACESHIP\n", "\n", "\t...The dark planet. Three warships are positioned in front of it.\n", "\tCommunication satellites arrive from all over the place, drawn to it like\n", "a magnet.\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\t\t(observing)\n", "\t\t\t\tIt's gobbling up all the communication\n", "\t\t\t\tsatellites in the galaxy!\n", "\n", "106\tINT. PRESIDENT'S OFFICE\n", "\n", "\tPresident Lindberg appears even more crushed by recent events.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tWhy the hell is it eating up all those\n", "\t\t\t\tsatellites like that?\n", "\n", "\t\t\t\t\t\tHEAD SCIENTIST\n", "\t\t\t\t\t(desperate)\n", "\t\t\t\t...We're working on it, Mr. President.\n", "\t\t\t\tWe're working on it.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tIt should only choke on them.\n", "\n", "\tMUNRO enters the office just as a cockroach crawls onto the desk.\n", "There's a small antenna on its back.\n", "\n", "107\tINT. SMALL ROOM\n", "\n", "\tZorg's Right Arm wears earphones, monitoring the President's conversation\n", "with the cockroach-spy.\n", "\n", "108\tINT. PRESIDENT'S OFFICE / SMALL ROOM\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tI managed to contact the Mondoshawan.\n", "\t\t\t\tThey deplore the incident, but accept our\n", "\t\t\t\tapologies.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(relieved)\n", "\t\t\t\tAnd the Stones? Did you find them in the\n", "\t\t\t\twreckage?\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tThe-Stones weren't aboard the ship.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(surprised)\n", "\t\t\t\t...What do you mean?\n", "\n", "\tThe President is all ears.\n", "\n", "\tSo is Zorg's Right Arm.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tThe Mondoshawan never fully trusted the\n", "\t\t\t\thuman race..they felt we're too unpredictable..\n", "\t\t\t\tso they gave up the Stones to somebody they\n", "\t\t\t\tdo trust. Her name is Plavalaguna. She's a Diva\n", "\t\t\t\tand she's going to sing at the charity ball on\n", "\t\t\t\tFhloston Paradise in a few hours. She has the\n", "\t\t\t\tStones with her.\n", "\n", "\tThe President breathes easier.\n", "\n", "\tZorg's Right Arm is delighted.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(taking off a shoe)\n", "\t\t\t\tExcellent!\n", "\n", "\tThe President crushes the cockroach with his shoe.\n", "\n", "\tRight Arm's earphones fly off his head. Good-bye eardrums.\n", "\n", "109\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tI want your best man on this!\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tDon't worry, Sir. I have the perfect one.\n", "\n", "110\tINT. KORBEN'S APARTMENT - DAY\n", "\n", "\tC.U. The most disgusting dessert ever made. Korben looks at it shimmying\n", "on a plate as the Thai serves it to him proudly.\n", "\n", "\t\t\t\t\t\tTHAI\n", "\t\t\t\tStewed jellyfish cake.. my speciality..\n", "\n", "\tKorben forces a weak, polite smile as the Thai looks on expectantly. The\n", "phone rings.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tSaved by the bell.\n", "\n", "\tKorben rises to get his cigarettes, and answer the phone.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Hello?\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\tYou're the nastiest dirtbag I know in\n", "\t\t\t\tthis stinking City!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(resigned)\n", "\t\t\t\tHi Ma...\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\tI've been playing twice a week for 20 years,\n", "\t\t\t\t20 years I've been eating those shitty croquettes.\n", "\n", "\tKorben goes to light his cigarette. There are only two matches left in\n", "the match box.\n", "\tKorben strikes one and it fizzles.\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\tYou wouldn't even eat one to help your\n", "\t\t\t\tpoor mother, and you win the big prize?\n", "\t\t\t\tKnow something? The whole thing makes\n", "\t\t\t\tme sick!\n", "\n", "\tThe Thai starts to clean up. Just as Korben goes to strike the second\n", "match..\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\tAre you listening to me, you ingrate!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(resigned)\n", "\t\t\t\tYes ma..\n", "\n", "\tKorben sighs and puts the match back in the box.\n", "\n", "\tKorben enters his code on the keypad the Thai is holding.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to the Thai)\n", "\t\t\t\tGo on... This is gonna take a while!\n", "\n", "The Thai casts oft. Korben closes the window.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tOther than that... You all right?\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\t...And now you're making fun of me?\n", "\t\t\t\tI'm warning you! If you don't take me\n", "\t\t\t\tafter all these years of sacrifice, I'll\n", "\t\t\t\tnever forgive you!!\n", "\n", "\tThe Thai flies off. In the hall, the cat meows-for more food.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to the cat)\n", "\t\t\t\tI'm coming!. Ma, what're you talking\n", "\t\t\t\tabout?\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\tI get it! You want to make me beg,\n", "\t\t\t\tis that it?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tAll I want is an explanation! I just got\n", "\t\t\t\tin, I lost my job. I smashed my cab.\n", "\t\t\t\tI got mugged, but other than that\n", "\t\t\t\teverything's peachy, Ma, thanks for asking!!\n", "\t\t\t\tNow settle down and explain to me calmly..\n", "\n", "\tA message drops in his tube. The red light goes on.\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\tYou just won a trip, you dolt!\n", "\t\t\t\tTen days in Fhloston Paradise for two!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tMa. If I'd won, I'd know about it.\n", "\t\t\t\tSomeone would have notified me.\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\tThey've been blaring out your name on\n", "\t\t\t\tthe radio for the last hour, blockhead!\n", "\n", "\tHe eyeballs the message still in the tube. The doorbell rings.-\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tMa.. it's the door. I'll call you back.\n", "\n", "\tKorben hangs up before his mother can say anything and heads for the\n", "door. Before he gets there it opens, General Munro enters followed by a\n", "Captain and a Major.\n", "\tMAJOR ICEBORG is a woman. All she needs to become a man is a mustache.\n", "\tMunro opens a file.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(clipped)\n", "\t\t\t\tMajor Dallas, if our calculations are correct\n", "\t\t\t\tyou still have 57 hours owed to the Federal\n", "\t\t\t\tArmy on your enlistment which is more than\n", "\t\t\t\tyou will need for a mission of the utmost\n", "\t\t\t\timportance.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhat mission?\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tTo save the world.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhere have I heard this song before?\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tYou're to leave immediately for Fhloston\n", "\t\t\t\tParadise. Retrieve four Stones from the\n", "\t\t\t\tDiva Plavalaguna. And bring them back with\n", "\t\t\t\tthe utmost discretion as possible.\n", "\t\t\t\tAny questions'?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(a little bewildered)\n", "\t\t\t\tJust one... why me?\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tThree reasons... One: As part of The Elite\n", "\t\t\t\tSpecial Forces Unit of the Federated Army\n", "\t\t\t\tyou are an expert in the use of all weapons\n", "\t\t\t\tand spacecraft needed for this mission.\n", "\n", "\tMunro pulls out a long list of documents.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tTwo: Of all the members of your unit\n", "\t\t\t\tyou were the most highly decorated.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tAnd the third one?\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tYou're the only one left alive...\n", "\n", "\tMunro removes the message Korben hasn't bothered to look at.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tDon't you open your messages?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI've had enough good news for today\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(by rote)\n", "\t\t\t\tYou have won the annual Gemini contest\n", "\t\t\t\tand a trip to Fhloston Paradise. For two.\n", "\t\t\t\tCongratulations.\n", "\t\t\t\tHere are your tickets.\n", "\n", "\tHe hands Korben the tickets. Korben gets it.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou rigged the contest?\n", "\n", "\tMunro nods.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tMajor Iceborg will accompany you...\n", "\t\t\t\tas your wife...\n", "\n", "\tThe idea of taking a trip with Iceborg makes him sick.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(sarcastic)\n", "\t\t\t\tYou couldn't come up with something\n", "\t\t\t\ta little more discreet?\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tOld tricks are the best tricks eh?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI'm not going.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tWhy not?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tOne reason... I want to stay the only\n", "\t\t\t\tone left alive.\n", "\n", "110A\tINT. KORBEN'S HALL\n", "\n", "\tLeeloo and Cornelius search for Korben's apartment. Leeloo carries the\n", "card Korben gave her. Cornelius finds the apartment, and yanks the.\n", "number off the door. He waves Leeloo over as his hand goes to the bell.\n", "\n", "110B\tINT. KORBEN'S APARTMENT\n", "\n", "\tThe doorbell rings.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Scuse me.\n", "\n", "\tKorben goes to the door and looks out the peephole: the beautiful Leeloo.\n", "\tKorben panics, overcome with happiness.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Shit!\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(worried)\n", "\t\t\t\tWhat is it?\n", "\n", "\tKorben has two seconds to make up something to get rid of Munro.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIt's my wife.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tI thought you were divorced.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI mean my future.. my ex.. My future ex..\n", "\t\t\t\tif she sees you here I'm finished. She hates\n", "\t\t\t\tyou guys. It's what killed us in the first place.\n", "\t\t\t\tPlease...\n", "\n", "\tHe puts them in the fridge, shoving the jellyfish cake in Iceborg's\n", "hands.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Sorry, General, but we've got no choice!\n", "\t\t\t\tIt'll only take a minute! Let me set up\n", "\t\t\t\tanother meeting and I'll be back.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tThree of us will never fit in there!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(pushing him)\n", "\t\t\t\tOh, yes you will...\n", "\n", "\tKorben slams the fridge door. The doorbell RINGS again.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Coming!\n", "\n", "\tHe whips through his place in ten seconds, gathers up things laying\n", "about,\n", "\tshuts drawers, rolls up his laundry in the folding bed. He brushes his\n", "hair back\n", "\tand opens the door with a big smile only to discover a gun stuck between\n", "his\n", "\teyes held by Cornelius.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tApipoulai!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI suppose that means \"Hi\" ?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tI'm sorry to have to resort to such\n", "\t\t\t\tmethods, but we heard about your\n", "\t\t\t\tgood luck on he radio and we need\n", "\t\t\t\tthe tickets to Fhloston.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIs that the usual way priests go on\n", "\t\t\t\tvacation?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tWe're not going on vacation..we're\n", "\t\t\t\ton a mission..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhat kind of mission?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(sincere)\n", "\t\t\t\tWe have to save the world.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(skeptical)\n", "\t\t\t\tGood luck..\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tOf course.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFather, I was in the Army for awhile\n", "\t\t\t\tand every time they told us we were\n", "\t\t\t\ton a mission to save the world the\n", "\t\t\t\tonly thing that changed was I lost a\n", "\t\t\t\tlot of friends. So thanks for the offer..\n", "\t\t\t\tbut no thanks.\n", "\n", "\tCornelius is disappointed. Leeloo looks crestfallen.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI'm sorry..\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\tThis is a police control action..\n", "\n", "\tEveryone freezes as the whole building resounds with the electronic\n", "voice.\n", "\n", "111\tINT. LANDING KORBEN'S BUILDING\n", "\n", "\tA group of POLICEMEN bursts into the hallway. One of the cops enters a\n", "code on the police wall box. A device descends from the ceiling, a\n", "flashing light-siren,\n", "\ta VOICE fills the air.\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\tThis is not an exercise.\n", "\t\t\t\tThis is a police control.\n", "\n", "\tCornelius starts to panic. Korben takes charge.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tOh my god oh my god..\n", "\n", "\tKorben pushes a button sending the fridge to the next floor. A shower\n", "takes it's place.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLeeloo, hide in here and don't move!\n", "\n", "\tLeeloo hops in. Korben tosses Cornelius on the bed.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tWhat are you doing?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tTrying to save your ass so you can\n", "\t\t\t\tsave the world.\n", "\n", "\t..and hits a button on the wall. The bed disappears into the wall.\n", "\n", "\tKorben grabs his tickets and slides them in his belt.\n", "\n", "112\tINT. LANDING KORBEN'S BUILDING - DAY\n", "\n", "\tMeanwhile, the automatic police voice continues.\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\t...Spread your legs and place your\n", "\t\t\t\thands in the yellow circles, please.\n", "\n", "\tA COP slaps a viewer device on Korben's door which makes part of it\n", "transparent.\n", "\n", "\t\t\t\t\t\tCOP 1\n", "\t\t\t\tPut your hands in the yellow circles,\n", "\t\t\t\tplease.\n", "\n", "\tKorben takes his time hiding his face. The Cop looks at his sheet. He's\n", "looking for\n", "\ta... KORBEN DALLAS. He has his picture, but it is Korben with long hair\n", "and beard.\n", "\n", "\t\t\t\t\t\tCOP 1\n", "\t\t\t\t\t(to COP 2)\n", "\t\t\t\tSir? Are you a human?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tNo, I'm a meat popsicle.\n", "\n", "\t\t\t\t\t\tCOP 3\n", "\t\t\t\t\t(at the other end of the hall)\n", "\t\t\t\tI found him!\n", "\n", "\tC.U. Korben's calling card is clumsily stuck to the door of the\n", "neighbor's apartment. COP 3 slaps the viewer on the nasty neighbor's door.\n", "The neighbor is at his sink shaving instead of against the wall, COP 1\n", "arrives with Korben's picture.\n", "\n", "\t\t\t\t\t\tCOP 1\n", "\t\t\t\tSir, this is a control. Please put your\n", "\t\t\t\thands in the yellow circles.\n", "\n", "\tThe neighbor steps right up to the viewer, shaving cream on his face. He\n", "could pass for Korben.\n", "\n", "\t\t\t\t\t\tNEIGHBOR\n", "\t\t\t\tFuck you!!\n", "\n", "113\tINT. KORBEN'S APARTMENT\n", "\n", "\tKorben still has his hands to the wall.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWrong answer.\n", "\n", "\tSHOT O.S. EXPLOSION. Scuffle.\n", "\n", "114\tINT. HALL\n", "\n", "\tThe riot police hustle down the hall dragging the neighbor behind them in\n", "a canvas bag. A cop is on the wall phone.\n", "\n", "\t\t\t\t\t\tCOP\n", "\t\t\t\tOK, we got the guy under wraps.\n", "\n", "115\tINT. ZORG'S OFFICE\n", "\n", "\tRight Arm is on the phone, facing Zorg.\n", "\n", "\t\t\t\t\t\tCOP (O.S.)\n", "\t\t\t\tIt was not easy, but we bagged him!.\n", "\t\t\t\tThanks for the tip!\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\t\t(smiling)\n", "\t\t\t\tGlad to help.\n", "\n", "\tHe hangs up.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tThey just arrested the guy for Uranium\n", "\t\t\t\tsmuggling. Everything's going as planned.\n", "\n", "\tHe shows him a plane ticket, and a passport with his picture and Korben's\n", "name.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tAll I have to do now is to go to the\n", "\t\t\t\tairport and take his place. I should be\n", "\t\t\t\tin Fhloston in less than four hours.\n", "\n", "\tZorg sits there quietly for a moment.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tDon't come back without the Stones.\n", "\n", "116\tINT. KORBEN'S APARTMENT\n", "\n", "\tKorben opens the shower door. Leeloo is soaking wet, her teeth\n", "chattering from the cold.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI'm really sorry.. there wasn't time.\n", "\n", "His eyes fall on an old blanket.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tHere let me wrap you up.\n", "\n", "\tKorben wraps her in an blanket and vigoroualy rubs her back. Leeloo\n", "warms gradually and snuggles closer to that warm comfortable shoulder.\n", "Korben's rubbing slows, looking more like caresses.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t..It's funny. I've met you twice today and\n", "\t\t\tyou've ended up in my arms both times.\n", "\n", "\tLeeloo suddenly realizes that she has maybe gone a bit too far.\n", "\tShe recovers, looking embarrassed too.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(nicely)\n", "\t\t\t\tValo massa... Chacha hamas.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tUh..you're welcome.\n", "\n", "\tThe intimacy makes him nervous. He looks for a diversion.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tCoffee! That's what you need!\n", "\t\t\t\tA nice, hot cup of coffee!\n", "\n", "\tHe pushes a button on the coffee machine.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWith some honey! You'll see, honey's\n", "\t\t\t\tgreat!...\n", "\n", "\tKorben rummages through the drawer. Leeloo, innocent, doesn't seem to\n", "quite understand everything that is going on.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tA hot cup of coffee... with honey...\n", "\n", "\tHe rummages through the cupboard, exceedingly nervous. Leeloo smiles and\n", "begins to look around. She opens a drawer and comes upon..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(nervously)\n", "\t\t\t\tI've got this great honey somewhere.\n", "\t\t\t\tYou know about honey? There used to be\n", "\t\t\t\tthese little animals who made it with antenna...\n", "\n", "\t..pictures of Major Korben Dallas War Hero.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t..and these other animals who ate it..\n", "\t\t\t\tone were bees the other were bears..\n", "\n", "\tShe looks back to the man fumbling for honey.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI forget which ate it and which made it\n", "\t\t\t\tbut..\n", "\n", "\tAnd she smiles.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tHere it is!\n", "\n", "\tKorben holds up the jar of honey.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tTaste this...\n", "\n", "\tLeeloo innocently sticks his finger in the jar then puts it in her mouth.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIt... melts in your mouth, doesn't it?\n", "\n", "\tShe savors the honey, slowly; sensually. Her lips shine with honey. Her\n", "eyes narrow with pleasure. Korben is hypnotized by her lips, like a moth\n", "attracted to a flame. He begins to lose control, which makes him nervous.\n", "\n", "\tAn indistinct sound comes from the wall. But Korben is so entranced with\n", "the sight of Leeloo licking her honied fingers, he doesn't hear it until\n", "it becomes quite a racket.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou hear that?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(licking)\n", "\t\t\t\tCornelius..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tOh god!\n", "\n", "\tKorben pushes the button on the wall. The bed pops out, fully made, with\n", "Cornelius tucked in it, struggling to get out.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI'm really sorry.. let me help you..\n", "\n", "Korben begins to pull at the covers when..\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tAchta ge lumitai de matala..\n", "\n", "\tKorben turns..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhat?\n", "\n", "\tHe turns to Leeloo struggling out of her wet clothes. His breath is taken\n", "away by the sight of her perfect body.\n", "\n", "\tCornelius whacks him heavily on the head with a lamp. Korben drops to\n", "the floor.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(displeased)\n", "\t\t\t\tVano da, mechteba?!\n", "\t\t\t\tSoun domo kala chon hammas!\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tNo, I'm not proud of myself...\n", "\t\t\t\tBut we don't have the luxury of choice.\n", "\n", "117\tINT. ENTRANCE KORBEN'S BUILDING - DAY\n", "\n", "\tThe POLICE exit the elevator and head for the front door. A cop suddenly\n", "takes a hit from a silencer, then a second. Others are bashed on the head\n", "by MANGALORE warriors. One of them picks up the prisoner bag, takes it\n", "into a small shed.\n", "\n", "118\tINT. SHED\n", "\n", "\tAknot, the Mangalore leader, is seriously wounded and can't walk.\n", "\n", "\t\t\t\t\t\tAKANIT\n", "\t\t\t\tKorben Dallas! We got him.\n", "\n", "\t\t\t\t\t\tAKNOT\n", "\t\t\t\tPerfect... Take command, Akanit.\n", "\t\t\t\tGo to Fhloston and get the Stones...\n", "\t\t\t\tIf Zorg really wants them... He'll have\n", "\t\t\t\tto negotiate. Revenge is at hand.\n", "\n", "119\tINT. KORBEN'S APARTMENT KORBEN'S BUILDING - DAY\n", "\n", "\tKorben gets unsteadily to his feet, some blood drips down his face. He\n", "daubs at it.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tJesus!... Some priest!\n", "\n", "\tThe phone rings, he manages to answer.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYeah?\n", "\n", "\t\t\t\t\t\tMOTHER (V.O)\n", "\t\t\t\tHave you pulled yourself together?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Not yet.\n", "\n", "\tHe hangs up.\n", "\n", "\tKorben opens the fridge door. The three officers are frozen solid.\n", "Korben grabs some ice, presses it to his forehead.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI'll take the mission.\n", "\n", "\tHe closes the door.\n", "\n", "120\tINT. AIRPORT HALL - DAY\n", "\n", "\tCornelius and Leeloo (still damp) arrive at the Manhattan Intergalactic\n", "Airport.\n", "\tA huge hall three quarters filled with trash piled up to the ceiling.\n", "\n", "\tThere are groups of extra-terrestrials on strike standing in trash\n", "holding picket signs. A SECURITY GUARD picks up a phone off the wall.\n", "\n", "\t\t\t\t\t\tSECURITY GUARD\n", "\t\t\t\tIllegal gathering in Zone 4.\n", "\n", "\tA hand taps Leeloo from behind. She whips around catching David in the\n", "face.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tLeeloo, be careful.\n", "\n", "\tHe turns to David who in holding his bloody nose.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tDid you get them?\n", "\n", "\tDavid hands Cornelius two passports.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tExcellent... Leeloo Dallas.\n", "\n", "\tHe hands it to her. The name makes her smile.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tAnd Korben David Dallas.\n", "\n", "\tShe frowns.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tAkta dedero ansila do mektet.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tI can't pretend to be your husband...\n", "\t\t\t\tDavid's in great shape.\n", "\n", "\tShe looks at David holding his bloody nose.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tHe'll protect you. Go on... See the Diva...\n", "\t\t\t\tget the Stones... See you at the temple...\n", "\t\t\t\tGod be with you.\n", "\n", "\tANGLE ON: Korben comes rushing into the airport. Walking quickly, he\n", "scopes the hall looking for Leeloo. A POLICE PATROL bearing down on the\n", "STRIKERS jostles him. The cops open fire. The strikers dive into the garbage\n", "and disappear.\n", "\n", "121\tINT. BOARDING GATE\n", "\n", "\tDavid nervously puts tickets and IDs on the check-in counter.\n", "\tLeeloo tosses her suitcase on the conveyor belt.\n", "\n", "\t\t\t\t\t\tCHECK-IN ATTENDANT\n", "\t\t\t\tCongratulations on winning the contest.\n", "\n", "\tDavid gives her a bleak smile. Leeloo rolls her eyes.\n", "\n", "\tBack a ways, Korben has spotted Leeloo and... David. He heads right for\n", "them. Leeloo's seen him. She is both delighted and panicked. David's\n", "seen nothing. Korben presses one of his fingers like a gun to David's back.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(friendly)\n", "\t\t\t\tHey! I really thought I was going to\n", "\t\t\t\tmiss my flight!\n", "\t\t\t\t\t(to David)\n", "\t\t\t\tThanks, kid! You put the luggage on\n", "\t\t\t\tthe conveyor belt?\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\t\t(freaking)\n", "\t\t\t\tUh... yeah.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(smiling)\n", "\t\t\t\tGreat! Now beat it!\n", "\n", "\tParalyzed, David leaves. Korben turns to the attendant.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tExcuse me. I was so afraid I'd miss the\n", "\t\t\t\tflight that I sent the kid here to pick up\n", "\t\t\t\tmy boarding card.\n", "\n", "\tHe looks at David's fake ID.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...My cousin David...\n", "\n", "\tLeeloo is unable to hold back a smile.\n", "\n", "\t\t\t\t\t\tCHECK-IN ATTENDANT\n", "\t\t\t\t\t(looking at Leeloo's ID)\n", "\t\t\t\tYour wife?\n", "\n", "\tKorben grabs the ID and reads it.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tUh, yes... Newlyweds.\n", "\t\t\t\t\t(aside)\n", "\t\t\t\tYou know how it is... Love at first sight.\n", "\t\t\t\tYou meet, something goes tilt,. you get\n", "\t\t\t\tmarried, you hardly know each other.\n", "\t\t\t\tRight, darling?\n", "\n", "\tLeeloo rips her boarding card out of the attendant's hand.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(sharply)\n", "\t\t\t\tDinoine chagantakat!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tTook the words right out of my mouth.\n", "\t\t\t\tGo on... I'll be right with you.\n", "\t\t\t\t\t(to Check-in Attendant)\n", "\t\t\t\tIt's our honeymoon. We're going to use\n", "\t\t\t\tthe trip to get to know each other better.\n", "\n", "\tHe winks at the stewardess.\n", "\n", "\tANGLE ON:\n", "\n", "\tThe neighbor and a tawdry young girl cross the airport. The couple in\n", "almost knocked over by a police patrol holding a 500 pound PIG on a\n", "stainless steel leash. The couple panics a moment, the realize the patrol\n", "isn't for them. The pig heads for the pile where the strikers disappeared.\n", "\n", "\t\t\t\t\t\tCOP\n", "\t\t\t\t\t(to pig)\n", "\n", "\t\t\t\tCome on, snyffer, go root!\n", "\n", "\tThe pig piles into the garbage. The Cop cuts it some slack.\n", "\tCornelius sits at a bar.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(to the bartender)\n", "\t\t\t\tI feel so guilty sending her to do the dirty\n", "\t\t\t\twork. I know she was made to be strong\n", "\t\t\t\tbut she's also so fragile... So human.\n", "\t\t\t\tYou know what I mean?\n", "\n", "\tThe bartender, a robot, nods his head as he pours Cornelius a drink.\n", "\n", "\tANGLE ON:\n", "\n", "\tThe nasty neighbor and his wife hand their tickets to the check-in\n", "attendant.\n", "\n", "\t\t\t\t\t\tCHECK-IN ATTENDANT\n", "\t\t\t\t\t(surprised)\n", "\t\t\t\tDallas... Korben...\n", "\n", "\t\t\t\t\t\tNEIGHBOR\n", "\t\t\t\t\t(in a different voice)\n", "\t\t\t\tYes, that's me.\n", "\n", "\tThe check-in attendant triggers a transparent blue light that shines on\n", "their faces, revealing two other faces:\n", "\n", "\tMangalores.\n", "\n", "\t\t\t\t\t\tCHECK-IN ATTENDANT\n", "\t\t\t\t\t(smiling)\n", "\t\t\t\tJust a minute, please.\n", "\n", "\tShe hits a silent alarm, but the Mangalores feel something is wrong.\n", "\n", "\t\t\t\t\t\tNEIGHBOR\n", "\t\t\t\tWe'll be right back ... we're gonna\n", "\t\t\t\tcheck out the duty free...\n", "\n", "\tThey spin around and hurry away.\n", "\n", "\tANGLE ON:\n", "\n", "\tCornelius at the bar, half in the bag.\n", "\n", "\t\t\t\t\t\tROBOT\n", "\t\t\t\tThe same?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tYeah...\n", "\n", "\t\t\t\t\t\tDAVID (V.O.)\n", "\t\t\t\tMake that two...\n", "\n", "\tCornelius turns to David.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tWhere's Leeloo?\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\tOn the plane... with Mr. Dallas...\n", "\t\t\t\tthe real one.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tIt's all my fault. I'm the servant...\n", "\t\t\t\tIt's my mission! Here!\n", "\n", "\tHe hands David the Temple Key from around his neck.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tHere's the key to the Temple..\n", "\t\t\t\tPrepare for our arrival!\n", "\n", "\tCornelius tosses David's drink into his own, downs it all in one shot,\n", "and takes off, passing the Mangalore couple headed for the exit. They are\n", "very nervous.\n", "\tA police patrol is coming. This time, it seems to be for them.\n", "\n", "\t\t\t\t\t\tNEIGHBOR\n", "\t\t\t\t\t(to the tawdry girl)\n", "\t\t\t\tTell Aknot plan A flopped.\n", "\t\t\t\tTell him to go to plan B.\n", "\n", "\tThe tawdry girl nods and peels off. The neighbor takes out a gun and\n", "blasts away at the cops. The cops fire back. A firefight rages in the\n", "hall. The tawdry girl dives into a pile of garbage and disappears.\n", "\n", "\t\t\t\t\t\tCOP\n", "\t\t\t\t\t(into walkie-talkie)\n", "\t\t\t\t...Send in a back-up unit, Zone 7!\n", "\n", "\tANGLE ON:\n", "\n", "\tOn one side of the hall, a trap door opens. Three pigs come running out,\n", "grabbed by their police handler.\n", "\n", "\tCornelius waits until everyone has left, gets down on all fours and\n", "crawls through the trapdoor reserved for the pigs.\n", "\n", "122\tINT. FIRST CLASS LOUNGE\n", "\n", "\tLeeloo stands at the buffet in the first class lounge eating everything\n", "in sight.\n", "\n", "123\tINT. HALL\n", "\n", "\tKorben is led down the hall by a STEWARDESS.\n", "\n", "\t\t\t\t\t\tSTEWARDESS\n", "\t\t\t\tYou are so lucky... Loc Rhod is the\n", "\t\t\t\tcoolest DJ in the universe.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tListen... I don't want to be interviewed.\n", "\t\t\t\tI'd prefer to remain anonymous.\n", "\n", "\tThe stewardess stops in the corridor.\n", "\n", "\t\t\t\t\t\tSTEWARDESS\n", "\t\t\t\tForget anonymous. You'll be doing Loc\n", "\t\t\t\tRhod's live show every day from 5 to 7!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(expression changes)\n", "\t\t\t\tYou gotta be kidding!\n", "\n", "\tThe stewardess smiles and shakes her head. The door next to him suddenly\n", "swings open and smashes him in the face.\n", "\n", "\tIn walks LOC RHOD amidst a tornado of music and security guards. He is\n", "young, good-looking, eccentric, charming as an elf or sly as a fox. A\n", "bundle of energy. He is the 24th century's most popular DJ.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(speedy, in rhythm)\n", "\t\t\t\tKorben Dallas! Here he is The most hated\n", "\t\t\t\tman in the universe. The one and only winner\n", "\t\t\t\tof the Gemini Croquette contest! Ladies, start\n", "\t\t\t\tmelting 'cause the boy's hot! Hot! Hot! The boy\n", "\t\t\t\tis perfect..\n", "\t\t\t\t\t(he feels his muscles)\n", "\t\t\t\t...The right size, right build, right hair. Right on!\n", "\t\t\t\tSay something-to those 50 billion pair of ears out\n", "\t\t\t\tthere D-man!\n", "\n", "\tAn ASSISTANT hands a totally lost Korben a mike.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(hesitant)\n", "\t\t\t\t...Hi.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tDoes it get any better or what!\n", "\n", "\tLoc Rhod grabs Korben's arm and leads him down the hallway, as fast as\n", "the music.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t...Quiver ladies, he's gonna set the world on\n", "\t\t\t\tfire right here from 5 to 7! You'll know\n", "\t\t\t\teverything there is to know about the D-man.\n", "\t\t\t\tHis dreams, his desires, his most intimate of\n", "\t\t\t\tintimates. And from what I'm looking at\n", "\t\t\t\tintimate is the stud muffin's middle name.\n", "\t\t\t\tSo tell me my main man... you nervous in the\n", "\t\t\t\tservice?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tUh... not really.\n", "\n", "\tLoc Rhod lets go of Korben's arm and grabs the Stewardess.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tFreeze those knees, my chickadees, 'cause\n", "\t\t\t\tKorben is on the case with a major face...\n", "\n", "\tLoc Rhod rubs up against the stewardess.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t...Start drooling, ladies! My man here is a\n", "\t\t\t\tsharp-tongued Sire who's gonna stroke your\n", "\t\t\t\tevery desire.\n", "\n", "\tThey come to an intersection. The airline company has prepared drinks\n", "for them. Loc Rhod pushes on, grabs a glass of champagne, scribbles his\n", "autograph.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tYesterday's unknown will be tomorrow's Prince\n", "\t\t\t\tof Fhloston Paradise, the hotel of a thousand and\n", "\t\t\t\tone follies, home of luxury and beauty. A magic\n", "\t\t\t\tfountain flowing with non-stop wine, women and\n", "\t\t\t\tBootchie Koochie Koo...\n", "\n", "\tHe tosses away his champagne glass.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tBeware out there puppy dogs my man is on\n", "\t\t\t\tthe prowl. Owwww!\n", "\n", "\tHowling, Loc Rhod grabs another stewardess by the arm.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t...And start licking your stamps little girls,\n", "\t\t\t\tthis guy's gonna have you writing home to\n", "\t\t\t\tMomma! Tomorrow from 5 to 7, I'll be your\n", "\t\t\t\tvoice, your tongue and I'll be hot on the tail\n", "\t\t\t\tof the sexiest man of the year... D-man...\n", "\t\t\t\tYour man... My man.\n", "\n", "\tThe stewardess shivers. A BEEP is heard.\n", "\n", "\t\t\t\t\t\tVOCODER (O.S.)\n", "\t\t\t\tEnd of transmission.\n", "\n", "\tThe MUSIC suddenly stops. Several assistants come and compliment Loc\n", "Rhod who sighs, lights up a cigarette, and drops his pretense.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tKorben sweetheart do me a favor I know this\n", "\t\t\t\tis probably the biggest thing that ever happened\n", "\t\t\t\tto you in your inconsequential life. But I've got\n", "\t\t\t\ta show to do here and it's got to pop. So tomorrow,\n", "\t\t\t\twhen we're on air, give me a hand... Try to make\n", "\t\t\t\tbelieve you have more than a one word vocabulary.\n", "\t\t\t\tOK pal?\n", "\n", "\tThat does it. Korben grabs him by the collar and drags him into a\n", "corner.\n", "\tLoc Rhod's feet don't touch the ground.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(pissed)\n", "\t\t\t\tI didn't come here to play Dumbo on the radio.\n", "\t\t\t\tSo tomorrow between 5 and 7 give yourself a\n", "\t\t\t\thand, that clear pal?\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(petrified)\n", "\t\t\t\tCrystal.\n", "\n", "124\tINT. AIRPORT\n", "\n", "\tThe Check-in attendant has two more tickets in her hand.\n", "\n", "\t\t\t\t\t\tCHECK-IN ATTENDANT\n", "\t\t\t\t\t(alter a moment, reading)\n", "\t\t\t\t...Mr. Dallas... Korben Dallas?\n", "\n", "\tZorg's Right Arm gives her a big smile.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tThat's right.\n", "\n", "\tThe attendant scans the ID with a yellow beam, it checks out, and the\n", "blue light reveals no other face but his.\n", "\n", "\t\t\t\t\t\tCHECK-IN ATTENDANT\n", "\t\t\t\tThe problem is I only have one Korben Dallas on\n", "\t\t\t\tmy list... and he's already checked in.\n", "\n", "\tRight Arm's smile shatters.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tThat's impossible! He's in j... I mean, there\n", "\t\t\t\tmust be some mistake. I have my ticket!\n", "\t\t\t\tI'm the real Korben Dallas!\n", "\n", "\tA shrill BELL rings out.\n", "\n", "\t\t\t\t\t\tCHECK-IN ATTENDANT\n", "\t\t\t\t\t(smiling)\n", "\t\t\t\tI'm sorry, sir, boarding is finished.\n", "\n", "\tThe attendant hits a button. A thick window slowly slides up between\n", "them.\n", "\tRight Arm totally loses it.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tI want to see your boss! Get rid of this\n", "\t\t\t\tfucking window! Somebody's made a\n", "\t\t\t\tmistake, goddamnit!\n", "\n", "\tHe pounds on the counter with both fists. A steel curtain comes down.\n", "Red sighting beams target spots on his body, ten gun barrels protrude from\n", "the wall, all aimed at him.\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tThis is not an exercise. This is a police\n", "\t\t\t\tcontrol.\n", "\t\t\t\tPut your hands in the nearest yellow circles...\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\t\t(slowing down)\n", "\t\t\t\tSorry, my fault... Just a little overexcited...\n", "\t\t\t\tthat's all... I'm calm now.\n", "\n", "125\tINT. SHUTTLE - DAY\n", "\n", "\tKorben makes his way in the plane looking for his seat. No more seats in\n", "modern planes, just individual travel boxes lined up like microwaves. He\n", "passes STEWARD holding his bloodied nose. He has found what he is looking\n", "for. He enters to.... Leeloo quietly stretched out in front of a computer\n", "screen. Korben slips in beside her. Leeloo in concentrating on the words\n", "that scroll rapidly past her on the screen. He doesn't understand what she\n", "is doing.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tApipoulai!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tNot hard to find you...just follow the\n", "\t\t\t\tChaos...\n", "\n", "\tLeeloo smiles, as if complimented.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLeeloo, listen to me... these tickets...\n", "\t\t\t\tthey're not mine... I mean they are, but\n", "\t\t\t\tnot for vacation like everyone thinks...\n", "\t\t\t\tI'm on an operation... and if I didn't come\n", "\t\t\t\tget you, you'd be in a shitload of trouble...\n", "\t\t\t\tI'd love to be on vacation with you...\n", "\t\t\t\tbut now.... now I've got to work...\n", "\t\t\t\tAnd Leeloo... I would love to work in peace.\n", "\n", "\tLeeloo types in \"LOVE\" on the keyboard.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tLove...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYes! But \"love\" isn't the operative word\n", "\t\t\t\there, PEACE is!\n", "\n", "\tLeeloo types in this new word.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(rather pleased)\n", "\t\t\t\tPeace... and love...\n", "\n", "\tShe brings up a picture of a 60's style Hippie flashing a peace sign.\n", "Korben sighs and switches off the screen.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tSometimes you can't learn everything\n", "\t\t\t\tfrom a screen..sometimes it's better to\n", "\t\t\t\task someone who has experience..\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(quite happy)\n", "\t\t\t\tWhat is... Make Love?\n", "\n", "\tKorben just stares at her for a few minutes.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tKnow what? On that subject maybe you'd\n", "\t\t\t\tbe better off asking the screen.\n", "\n", "\tHe turns the computer back on.\n", "\n", "\tANGLE ON:\n", "\n", "\tA STEWARDESS walks up the aisle of the shuttle pushing the red buttons on\n", "top of each individual box.\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\t...to make your flight as short and agreeable\n", "\t\t\t\tas possible, our flight attendants are switching\n", "\t\t\t\ton the timing sleeper which will regulate your\n", "\t\t\t\tsleep during the trip...\n", "\n", "\tANGLE ON:\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(switching off the screen)\n", "\t\t\t\tOK! Finished!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFinished what?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tLearning language.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhich one?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tAll 900.\n", "\n", "\tKorben doesn't know if he should laugh or not.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou learned 900 languages in five\n", "\t\t\t\tminutes?!\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(pleased)\n", "\t\t\t\tYes! Now it's your turn! I learned your\n", "\t\t\t\tlanguage, you have to learn mine!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI know how to say \"Hello\". Teach me how\n", "\t\t\t\tto say \"Good-bye\", that's all I need.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tApipoussan!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tApipoussan?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tGood! Do you know how we say \"make love\"?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(fumbling)\n", "\t\t\t\tUh...\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t...Hoppi-hoppa.\n", "\n", "\tKorben literally melts.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to himself)\n", "\t\t\t\tHelp...\n", "\n", "\tLuckily, a stewardess smiles at him through the box window.\n", "\n", "\t\t\t\t\t\tSTEWARDESS\n", "\t\t\t\tSweet dreams, Mr. Dallas!\n", "\n", "\tThe stewardess sets the timing sleeper. Korben and Leeloo immediately\n", "fall asleep.\n", "\n", "\tA STEWARDESS at the other end of the shuttle has a problem.\n", "\n", "\t\t\t\t\t\tSTEWARDESS 2\n", "\t\t\t\tMr. Loc Rhod you have to assume\n", "\t\t\t\tyour individual position.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(hugging her)\n", "\t\t\t\tI don't want an individual position,\n", "\t\t\t\tI want all positions!\n", "\n", "\t\t\t\t\t\tSTEWARDESS 2\n", "\t\t\t\t\t(resisting somewhat)\n", "\t\t\t\tWe're going to take off soon, Mr. Rhod!\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tNow you're talking!\n", "\n", "126\tINT. COCKPIT FHLOSTON SPACE SHUTTLE\n", "\n", "\tThree CREW MEMBERS prepare for liftoff.\n", "\n", "\t\t\t\t\t\tCOPILOT\n", "\t\t\t\t\t(on the radio)\n", "\t\t\t\tMolecular axis authorization. Vector 130.\n", "\t\t\t\tDestination Fhloston.\n", "\n", "\tStewardess 1 enters the cockpit.\n", "\n", "\t\t\t\t\t\tSTEWARDESS 1\n", "\t\t\t\tZone 1. 217 locked. The sleep regulator is OK.\n", "\n", "\t\t\t\t\t\tPILOT\n", "\t\t\t\t\t(checking her out)\n", "\t\t\t\tThanks, Miss.\n", "\n", "\tThe Stewardess leaves with a smile. A red light flashes on the vast\n", "control panel.\n", "\n", "\t\t\t\t\t\tMECHANIC\n", "\t\t\t\tTell the ground crew we've got parasites\n", "\t\t\t\tin the landing gear.\n", "\n", "127\tINT. AIRPORT LANDING STRIP - DAY\n", "\n", "\tA GROUND CREW MEMBER goes over to the truck parked under one of the\n", "plane's wings and bangs on the side of it with a shout.\n", "\n", "\t\t\t\t\t\tGROUND CREW MEMBER\n", "\t\t\t\tDisinfecting!\n", "\n", "\tTwo DISINFECTORS in hermetically sealed suits exit the truck. They go\n", "over to the front landing gear and send up a whooshing beam. The flame\n", "burns everything it touches. A pack of repugnant creatures falls squealing\n", "from the landing gear. A small trapdoor is opened under the shuttle and a\n", "huge slightly phosphorescent tube falls out.\n", "\n", "128\tINT. AIRPORT HALL / ZORG'S OFFICE\n", "\n", "\tZorg's Right Arm is in a phone booth in the middle of the hall.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tYeah, it's me... Put Zorg on.\n", "\n", "\tHe is already sweating.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(cold)\n", "\t\t\t\tI'm listening.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\tThe real Korben Dallas is on the plane!\n", "\t\t\t\tHe took my place.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tThis is a joke, right?\n", "\n", "129\tINT. SHUTTLE\n", "\n", "\tLoc Rhod is wrapped around a stewardess like a snake.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tNo!! I swear to God! I've never been this\n", "\t\t\t\tsincere with a human before!\n", "\n", "130 EXT. LANDING STRIP\n", "\n", "\tTWO GROUND CREW MEMBERS stick an enormous, highly phosphorescant tube\n", "\tinto the opening.\n", "\n", "\t\t\t\t\t\tGROUND CREW MEMBER\n", "\t\t\t\tYou're fueled and ready to go.\n", "\t\t\t\tHave a nice flight.\n", "\n", "131\tINT. SHUTTLE\n", "\n", "\t\t\t\t\t\tPILOT\n", "\t\t\t\t\t(to copilot)\n", "\t\t\t\tEverything ready for liftoff?\n", "\n", "132\tINT. CABIN\n", "\n", "\t\t\t\t\t\tSTEWARDESS\n", "\t\t\t\t\t(weakly, to Loc Rhod)\n", "\t\t\t\tNo, no... I'm not ready! I'd like to talk first...\n", "\n", "133\tINT. ZORG'S OFFICE / AIRPORT HALL\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tI cannot hear you. We have a bad\n", "\t\t\t\tconnection here. What's your number?\n", "\n", "\tRight Arm reads off the phone number.\n", "\n", "\t\t\t\t\t\tRIGHT ARM\n", "\t\t\t\t278-500-645-321\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tI'll call you back.\n", "\n", "134 EXT. LANDING STRIP\n", "\n", "\tThe runway is now empty. A man slips out of the shadows. It's Cornelius.\n", "He scurries over to the front landing gear. He pauses for an instant, the\n", "climbs up the wheel well and disappears inside the shuttle.\n", "\n", "135\tINT. SHUTTLE\n", "\n", "\tThe pilots are going through the pre-flight check list.\n", "\n", "\t\t\t\t\t\tCOPILOT\n", "\t\t\t\tAnti static pressure?\n", "\n", "\t\t\t\t\t\tMECHANIC\n", "\t\t\t\tPrimed.\n", "\n", "\tThe mechanic presses a series of buttons.\n", "\n", "136\tINT. CABIN\n", "\n", "\tLoc Rhod undoes a series of buttons on the stewardess' blouse, behind a\n", "curtain. He whispers a poem. Impossible to resist him. Outside the\n", "curtain the stewardess' legs rise slowly.\n", "\n", "137\tEXT. LANDING STRIP\n", "\n", "\tOn the ground, protective fire curtains rise slowly to contain the engine\n", "exhaust on liftoff.\n", "\n", "138\tINT. ZORG'S OFFICE\n", "\n", "\tA keyboard slowly appears in front of Zorg.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(typing the number)\n", "\t\t\t\t278... 500...\n", "\n", "139\tSERIES OF QUICK CUTS:\n", "\n", "\tThe pilot gradually turns the engines up.\n", "\n", "\t\t\t\t\t\tCOPILOT\n", "\t\t\t\t10 seconds...\n", "\n", "\t\t\t\t\t\tPILOT\n", "\t\t\t\tPower increase.\n", "\n", "\t- The stewardess undergoes a power surge from Loc Rhod that's about to\n", "lift her of.\n", "\n", "\t- Zorg finishes gleefully typing in the number.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t3... 2... 1...\n", "\n", "\t- The engines at full blast.\n", "\n", "\t- The stewardess in close to screaming.\n", "\n", "\t\t\t\t\t\tPILOT\n", "\t\t\t\tLiftoff.\n", "\n", "\t- The copilot pushes a button.\n", "\n", "\t- So does Zorg.\n", "\n", "\t- The engines release their full power.\n", "\n", "\t- The stewardess screams in ecstasy.\n", "\n", "\t- In the hall, Right Arm literally explodes along with the phone and\n", "everything else within 60 feet.\n", "\n", "140\tINT. FHLOSTON SPACE SHUTTLE\n", "\n", "\tThe stewardess' legs slowly descend and disappear behind the curtain.\n", "\n", "141\tINT. COCKPIT\n", "\n", "\tIn the cockpit, the atmosphere loosens up.\n", "\n", "\t\t\t\t\t\tCOPILOT\n", "\t\t\t\t\t(relaxing)\n", "\t\t\t\tLanding gear secure. Let's light one up.\n", "\n", "142\tINT. CABIN\n", "\n", "\tKorben and Leeloo sleep soundly in their box. Leeloo has a smile on her\n", "face and her hand in Korben's.\n", "\n", "143\tEXT. OUTERSPACE - NIGHT\n", "\n", "\tThe spaceship rockets past us, then suddenly vanishes with amazing speed.\n", "Space is now empty and calm. Billions of stars glow in perfect silence.\n", "\n", "\n", "144\tEXT. SPACE\n", "\n", "\tThe nefarious planet in still there, immobile, even larger now, writhing\n", "like a serpent. Then, suddenly, for no apparent reason, all activity stops\n", "and it becomes gray and cold.\n", "\n", "145\tINT. SPACESHIP\n", "\n", "\tIn the Admiral's starship, scientists watch the measuring device. One of\n", "the devices suddenly starts working.\n", "\n", "\t\t\t\t\t\tTECHNICIAN\n", "\t\t\t\tAll right! We're finally getting something!\n", "\n", "146\tINT. PRESIDENT'S OFFICE\n", "\n", "\tThe Head Scientist stands facing the President, who is looking more tired\n", "than ever.\n", "\n", "\t\t\t\t\t\tHEAD SCIENTIST\n", "\t\t\t\tThe thing is sending out radio wavelengths!\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tWhat the hell does it want with radio waves?\n", "\n", "\t\t\t\t\t\tHEAD SCIENTIST\n", "\t\t\t\t...Probably wants to make a call!\n", "\n", "\tThe President and his Generals look at him in astonishment.\n", "\n", "147\tINT. ZORG'S OFFICE\n", "\n", "\tPicasso purrs contentedly on Zorg's lap. The phone rings.\n", "\n", "\t\t\t\t\t\tSECRETARY (O.S.)\n", "\t\t\t\tMr. Shadow on the line.\n", "\n", "\tZorg shoots to his feet. Picasso tumbles to the floor. Zorg picks up\n", "the phone, both excited and uneasy. He stands there, almost coming to\n", "attention.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tYes... Zorg here.\n", "\n", "\tThe voice is feeble. It comes from the far reaches of time, from the\n", "bowels of the universe.\n", "\n", "\t\t\t\t\t\tSHADOW\n", "\t\t\t\tAm I disturbing you?\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tNo... not at all. Where are you?\n", "\n", "\tSHADOW'S breathing is awesome.\n", "\n", "\t\t\t\t\t\tSHADOW\n", "\t\t\t\t...Not far, now.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tReally? Maybe I can get you on my screen\n", "\t\t\t\tand see you at last!\n", "\n", "\tZorg brings up a huge screen and pushes a few buttons.\n", "\n", "\tIn the middle of an electronic snowstorm, a blackish, vaguely human,\n", "quiverinq form appears. Two eyes, like lava, give an idea where the head is.\n", "Zorg feels sick.\n", "\n", "\t\t\t\t\t\tSHADOW\n", "\t\t\t\tDo you have the picture now Mr. Zorg?\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tGot it.\n", "\n", "\t\t\t\t\t\tSHADOW\n", "\t\t\t\tHow's our deal coming along?\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(ill at ease)\n", "\t\t\t\tFine, just fine! I'll have the 4 pieces you\n", "\t\t\t\tasked for any time now. But it wasn't easy.\n", "\t\t\t\tMy costs have tripled.\n", "\n", "\tShadow pauses an instant. A black slimy liquid starts to ooze from the\n", "top of the screen. Zorg is feeling worse all the time.\n", "\n", "\t\t\t\t\t\tSHADOW\n", "\t\t\t\tMoney is of no importance...\n", "\t\t\t\tI want the Stones!\n", "\n", "\tThe black liquid oozes all over the screen which starts to melt. Zorg\n", "sweats profusely, his legs tremble.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tThe Stones will be here. I'll see to it\n", "\t\t\t\tpersonally!\n", "\n", "\t\t\t\t\t\tSHADOW\n", "\t\t\t\t...I can't wait to be among you.\n", "\n", "\tZorg sighs and sits down totally freaked.\n", "\n", "148\tEXT. ORBIT FHLOSTON PARADISE\n", "\n", "\tThe space shuttle fills the screen. It banks left and begins its descent\n", "toward Fhloston, the turquoise planet. Crystal blue water, perfect white sand\n", "beaches. A true paradise.\n", "\n", "149\tINT. SPACE SHUTTLE\n", "\n", "\tThe stewardess picks up a microphone to make an announcement.\n", "\n", "\t\t\t\t\t\tSTEWARDESS\n", "\t\t\t\tLadies and gentlemen, we have begun our\n", "\t\t\t\tdescent toward Fhloston Paradise...\n", "\n", "\tStewardesses walk down the aisles waking the passengers one by one. They\n", "press a button on the door of each box.\n", "\n", "\tIn the corner, Loc Rhod and the stewardess awake with a start and\n", "straighten their clothes quickly. The stewardess is embarrassed.\n", "\n", "\t\t\t\t\t\tSTEWARDESS\n", "\t\t\t\t\t(timidly)\n", "\t\t\t\tI wanted to tell you that...\n", "\n", "\tLoc Rhod puts on his sunglasses and presses a finger to her lips. He\n", "disappears behind the curtain leaving the sighing stewardess on her own.\n", "\n", "150\tEXT. FHLOSTON PARADISE\n", "\n", "\tThe spaceship descends through some clouds and glides over a vast\n", "turquoise sea. Fhloston Paradise looms into view. An enormous oceanliner\n", "floating a dozen yards above the water. On closer inspection it is more\n", "modern than a traditional oceanliner. The shuttle draws near, looking\n", "ridiculously small next to the monster. Like a sardine next to a whale.\n", "\n", "151\tINT. COCKPIT\n", "\n", "\tA blinking light goes on.\n", "\n", "\t\t\t\t\t\tPILOT\n", "\t\t\t\tShit! Parasites in Zone 1. Take a look.\n", "\n", "\tThe 1st Mate heads off.\n", "\n", "152\tINT. CABIN\n", "\n", "\tA stewardess opens Korben's box door. He is still heavy with sleep. He\n", "looks over at Leeloo. She's not there.\n", "\n", "153\tEXT. FHLOSTON\n", "\n", "\tThe tiny space shuttle clings to the huge oceanliner.\n", "\n", "154\tINT. COCKPIT\n", "\n", "\tThe Pilot maneuvers the ship into it's docking area.\n", "\n", "\t\t\t\t\t\tPILOT\n", "\t\t\t\tDocking activated.\n", "\t\t\t\tYou can let the passengers out.\n", "\n", "155\tINT. REAR OF COCKPIT\n", "\n", "\tThe 1st mate pries open the door to an overhead panel. Cornelius falls\n", "out, hanging in a jumble of wires.\n", "\n", "156.\tINT. ENTRANCE HALL FHLOSTON PARADISE - DAY\n", "\n", "\tThe enormous door opens and the passengers exit. Leeloo is among them.\n", "She appears quite impressed by the beauty and luxury of the 19th century\n", "decoration.\n", "\n", "157\tINT. CABIN\n", "\n", "\tKorben attempts to make his way up the shuttle's aisle.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(jostling everybody)\n", "\t\t\t\tPardon me. Excuse me. I'm trying to\n", "\t\t\t\treach my wife.. Sorry!\n", "\n", "158\tINT. ENTRANCE HALL\n", "\n", "\tA dozen policemen wait patiently at the end of the hall. Leeloo stops\n", "and presses against the wall. She spots Korben leaving the shuttle. A\n", "gorgeous HOSTESS comes up to him, drapes a lei around his neck and plants a\n", "kiss on his lips in welcome.\n", "\n", "\t\t\t\t\t\tHOSTESS\n", "\t\t\t\t\t(smiling)\n", "\t\t\t\tWelcome to Paradise.\n", "\n", "\tKorben's face is covered in lipstick. Leeloo sees he did nothing to stop\n", "the girl and she doesn't like it.\n", "\n", "\tA HEFTY MAN wearing a sarong drapes some flowers around her neck. Then,\n", "\tobviously relishing it, he leans down to kiss her. Leeloo bashes him on\n", "the forehead. The hefty man straightens up. He's still smiling, but his\n", "nose is bleeding. He falls slowly to the floor.\n", "\n", "\tKorben pushes forward trying to spot Leeloo. He also tries to wipe the\n", "lipstick off. Leeloo tries to escape through a door marked PERSONNEL ONLY,\n", "but it's locked. A HOST looks at her with a grin.\n", "\n", "\t\t\t\t\t\tHOST\n", "\t\t\t\t\t(playful)\n", "\t\t\t\tIf you don't have the code you can't\n", "\t\t\t\topen it!\n", "\n", "\tLeeloo smiles and punches in an old code and twists the doorknob. The\n", "door opens with the sound of a braking lock. Leeloo smiles sweetly and enters\n", "as if nothing were amiss.\n", "\n", "\tA shriek of joy fills the room. Korben turns around. The HOSTESSES\n", "cluster around Loc Rhod as he comes out of the plane. Loc Rhod spots Korben\n", "and latches onto his arm. It's not going to be easy to remain discrete.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(relieved)\n", "\t\t\t\tMy main man! Please don't leave me here\n", "\t\t\t\talone. My head's killing me and my adoring\n", "\t\t\t\tfans are gonna tear me apart! Get me outta\n", "\t\t\t\there!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI'll take you to the bar, after that,\n", "\t\t\t\tyou're on your own.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(hanging on to Korben)\n", "\t\t\t\tOh, yes! Do that! You treat me right,\n", "\t\t\t\tman. Tell me all about yourself, your\n", "\t\t\t\troots, your personal life, your childhood\n", "\t\t\t\tdreams...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI don't think this is a good time...\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t...You got brothers and sisters? What\n", "\t\t\t\tabout your dad? Tell me about your\n", "\t\t\t\tdad! What was he like? Physically?\n", "\t\t\t\tBig, I suppose?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(evasive)\n", "\t\t\t\tYeah, very big, a giant.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tI didn't have a dad... never saw him...\n", "\t\t\t\tnever even heard him. 50 billion people\n", "\t\t\t\tlisten to me every day... and he doesn't\n", "\t\t\t\thear me...\n", "\n", "159\tINT. SMALL ROOM FHLOSTON PARADISE - DAY\n", "\n", "\tLeeloo is in a small room, ear at the door, listening. Everything seems\n", "normal. She turns and discovers the room for what it is:\ta rest room\n", "for... three cops who look up from their books and stare blankly at her.\n", "Leeloo doesn't know what to do. So she smiles.\n", "\n", "160\tINT. HALL - OMIT\n", "\n", "161\tINT. MAIN HALL FHLOSTON PARADISE - OMIT\n", "\n", "162\tEXT. ORBIT FHLOSTON PARADISE - DUSK - OMIT\n", "\n", "163\tINT. THE CONTROL ROOM FHLOSTON PARADISE - DUSK - OMIT\n", "\n", "164\tINT. KORBEN'S STATEROOM\n", "\n", "\tThe door opens. The HOSTESS turns on the light and enters. Korben\n", "follows her, gaping at all the luxury.\n", "\n", "\tThe BAGGAGE BOY enters bringing Leeloo's two suitcases.\n", "\n", "\tKorben grabs the notice announcing Diva Plavalaguna's concert at 5:30 in\n", "that evening. Dress: Formal attire.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFor the concert it says formal attire...\n", "\t\t\t\tI didn't bring...\n", "\n", "\tThe hostess pulls back the closet door. Twenty tuxedos in a row.\n", "\n", "\t\t\t\t\t\tHOSTESS\n", "\t\t\t\t\t(looking him over)\n", "\t\t\t\tHere's some champagne. I'll drop by after\n", "\t\t\t\tthe concert to open it.\n", "\n", "\tShe gives him a blinding smile and closes the door.\n", "\n", "\tKorben pushes a button. The curtains open to reveal a most spectacular\n", "view of the turquoise planet. Stars shoot out into infinity.\n", "Breathtaking. Korben stands gaping. The phone rings, snapping him out of\n", "his reverie.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tHello?\n", "\n", "\t\t\t\t\t\tMOTHER (O.S.)\n", "\t\t\t\tYou little sleaze bag!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Ma???\n", "\n", "\t\t\t\t\t\tMOTHER (O.S.)\n", "\t\t\t\tDon't you ever ask me for another thing\n", "\t\t\t\tin my life again, you've killed your\n", "\t\t\t\tpoor mother with your own hands!\n", "\n", "\tKorben drops into an armchair and sighs. His eyes go to the ceiling.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Ma!!!\n", "\n", "165\tINT. CONTROL ROOM FHLOSTON PARADISE - OMIT\n", "\n", "166\tINT. FHLOSTON PARADISE POLICE OFFICE - DAY\n", "\n", "\tThe Chief of Police has Cornelius in front of him, handcuffed.\n", "\n", "\t\t\t\t\t\tFOG\n", "\t\t\t\tThe Diva's ship is coming in.\n", "\n", "\t\t\t\t\t\tCHIEF OF POLICE\n", "\t\t\t\tI want maximum security.\n", "\n", "\t\t\t\t\t\tFOG\n", "\t\t\t\tYes. Sir!\n", "\n", "\t\t\t\t\t\tCHIEF OF POLICE\n", "\t\t\t\t\t(to Cornelius)\n", "\t\t\t\tOK, let's hear it.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tWhere was I?\n", "\n", "\t\t\t\t\t\tCHIEF OF POLICE\n", "\t\t\t\t\t(bored)\n", "\t\t\t\t...You open the door. There's a cabby with\n", "\t\t\t\ta girl in his arms.\n", "\n", "\tFOG opens the door. Two COPS come hobbling in all bloody and bandaged.\n", "They hold up a THIRD COP.\n", "\n", "\t\t\t\t\t\tCHIEF OF POLICE\n", "\t\t\t\tWhat happened?\n", "\t\t\t\tA bomb go off in your face?\n", "\n", "\t\t\t\t\t\tBEAT-UP COP\n", "\t\t\t\tYeah... A 5 foot 7 inch bomb...\n", "\t\t\t\twith green eyes.\n", "\n", "\tCornelius perks up.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tAnd the smile of an angel?\n", "\n", "\tThey all turn to look at him.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(to Chief)\n", "\t\t\t\tMay I speak to you alone.\n", "\n", "167\tINT. CORRIDOR FHLOSTON PARADISE - DAY\n", "\n", "\tLeeloo watches the Diva's arrival. A door opens and two POLICEMAN clear\n", "the way for DIVA PLAVALAGUNA, her MANAGER, her BODYGUARDS and a gaggle of\n", "\tPORTERS carrying trunks.\n", "\n", "\tNot wanting to draw attention to herself, Leeloo feigns interest in a\n", "painting that is obviously upside down. A white chiffon veil covers the face\n", "of the Diva, she stops in front of Leeloo. The Diva reaches out and\n", "strokes Leeloo's face, without touching her. The Diva removes her hand\n", "making a sound of crackling electricity, then passes on. Leeloo is groggy.\n", "The Diva's ASSISTANT comes up to her.\n", "\n", "\t\t\t\t\t\tDIVA'S ASSISTANT\n", "\t\t\t\tPlease forgive this little incident. She wants\n", "\t\t\t\tyou to know that she senses great powers in\n", "\t\t\t\tyou... in the service of a noble cause... She\n", "\t\t\t\twill give you what you have come to get, but\n", "\t\t\t\tshe wants to sing first...\n", "\t\t\t\tOne last time...\n", "\n", "\tThe Diva's assistant turns the painting right side up.\n", "\n", "\t\t\t\t\t\tDIVA'S ASSISTANT\n", "\t\t\t\t\t(nodding)\n", "\t\t\t\tMiss.\n", "\n", "\tLeeloo looks at the painting, seems to understand it better.\n", "\n", "168\tEXT. DIVA'S SUITE\n", "\n", "\tPolicemen stand at attention in front of the Diva's suite.\n", "\n", "\t\t\t\t\t\tFOG\n", "\t\t\t\tHello, I'm head of security.\n", "\t\t\t\tEverything is in order. You can...\n", "\n", "\tThe Diva enters her suite without letting him finish.\n", "\n", "\t\t\t\t\t\tFOG\n", "\t\t\t\t...make yourselves at home safely.\n", "\t\t\t\tIf you need anything...give it a knock!\n", "\n", "169\tINT. POLICE OFFICE HALLWAY - NIGHT\n", "\n", "\tA door opens near the police officer's main entrance. Cornelius looks\n", "both ways. Then crosses the hall, dragging the Chief of Police by the feet.\n", "\n", "170\tINT. KORBEN'S STATEROOM\n", "\n", "\tKorben finishes putting on his tux, still on the phone.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tListen, Ma! I've only got a few days\n", "\t\t\t\tvacation and I'll be damned if I'm\n", "\t\t\t\tgonna spend them on the phone.\n", "\n", "\tThe door RINGS.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Hang on, it's the door. No!\n", "\t\t\t\tI told you I didn't bring anybody!\n", "\t\t\t\tI'm all alone... as usual!\n", "\n", "\tKorben opens the door. It's not the champagne. Even better. It's\n", "Leeloo.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to his mother)\n", "\t\t\t\t...I'll call you back.\n", "\n", "\tLeeloo heads right for her suitcase and starts to undress. Korben has to\n", "turn away once more.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tHere we go again...\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(by rote)\n", "\t\t\t\tYou know women normally change five\n", "\t\t\t\ttimes more than men.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou get that off the screen?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tYes... you know there's a lot of\n", "\t\t\t\tdifferences between men women.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou noticed..\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tOK, you can turn around!\n", "\n", "\tKorben turns around. Leeloo has put on a very simple dress which is sexy\n", "to the max. He is smitten. So much so that Leeloo wonders if something\n", "isn't quite right.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhere you going?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tI'm going to see the Diva sing. What's\n", "\t\t\t\tthe matter?... Do I look bad?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tNo, not at all! I mean, just the opposite,\n", "\t\t\t\tyou're... you're beautiful!\n", "\n", "\tLeeloo smiles at him, his compliment pleases her. She turns, revealing\n", "her unzippered back. Korben cannot help but stare at her bare flesh. Her\n", "perfect bottom.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tDo you know how this works?\n", "\n", "\tKorben's blood boils. She wriggles, pressing her hands together close to\n", "the zipper.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI have an idea.\n", "\n", "\tBut instead of pulling on the zipper he slips a bracelet on her wrist. A\n", "flourescent beam bursts out of the bracelet and forms a vertical bar going\n", "from the floor to the ceiling.\n", "\tStunned, Leeloo is held captive.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI told you I need to work in peace.\n", "\t\t\t\tRemember? I need to concentrate.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tAnd you can't concentrate with me\n", "\t\t\t\taround?.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIt's difficult.\n", "\n", "\tShe tries to breakout.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tArmy issue. I'm sorry.\n", "\n", "\tLeeloo tries desperately to get out of the handcuffs. Impossible.\n", "\n", "\tKorben sets the radio down in front of her and turns it on.\n", "\tLeeloo looks like she'd like to break his head.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(seething)\n", "\t\t\t\tYou're nothing but a... a...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThe words you're looking for weren't\n", "\t\t\t\tin the dictionary you studied. I won't\n", "\t\t\t\tbe long.\n", "\n", "\tThe door flies open. Loc Rhod barges in.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tHey Stud we gotta...\n", "\n", "\tThen he sees the scene, Leeloo cuffed, in a low cut dress. His mind goes\n", "to the obvious.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tKorben my man what's happening here?\n", "\t\t\t\tWho's the chick? What's the gig?\n", "\t\t\t\tWe free forming here? Getting funky\n", "\t\t\t\twith the monkey? Can I get in on this?\n", "\n", "\tKorben grabs him by the collar..\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tNo..to all of the above.\n", "\n", "\tAnd yanks Loc Rhod out of the room. Leaving Leeloo looking extremely\n", "unhappy.\n", "\n", "171\tINT. RADIO - OMIT\n", "\n", "172\tINT. LOC RHOD'S STATEROOM FHLOSTON PARADISE - NIGHT - OMIT\n", "\n", "173\tINT. HALL - OMIT\n", "\n", "174\tINT. BATHROOM - OMIT\n", "\n", "175\tINT. DIVA'S SUITE FHLOSTON PARADISE - NIGHT - OMIT\n", "\n", "176\tINT. FHLOSTON PARADISE OPERA - NIGHT\n", "\n", "\tLoc Rhod and Korben enter what turns out to be a replica of the Garnier\n", "Opera in Paris. A hostess escorts them to their seats.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(broadcasting)\n", "\t\t\t\tWe have just walked into what is probably\n", "\t\t\t\tthe most beautiful concert hall in the universe.\n", "\t\t\t\tTotally awesome! Magnificent paintings on the\n", "\t\t\t\tceiling. I don't know who painted them, but he\n", "\t\t\t\tmust have busted his balls! I see a row of former\n", "\t\t\t\tministers, more sinister than minister! A few generals\n", "\t\t\t\tpracticing how to sleep. And there's Baby Ray, star\n", "\t\t\t\tof stage and screen, drowning in a sea of nymphets.\n", "\t\t\t\tHe's not gonna get much out of this concert, he's\n", "\t\t\t\tstone-deaf!\n", "\n", "\tANGLE ON:\n", "\n", "\tBaby Ray bending his ear to a girl asking for an autograph.\n", "\n", "\t\t\t\t\t\tBABY RAY\n", "\t\t\t\t...to who?\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(moving down the aisle)\n", "\t\t\t\t...And over there is Roy Von Bacon, the king\n", "\t\t\t\tof laserball and the best paid player in the League.\n", "\t\t\t\t\t(shakes hands as he goes by)\n", "\t\t\t\t...And over there is the Emperor Kodar Japhet\n", "\t\t\t\twhose daughter Aachen is still at the bar.\n", "\t\t\t\t\"I love to sing, too, but in the shower\", she\n", "\t\t\t\trecently confessed to me. She will no doubt\n", "\t\t\t\tprove to be as generous tonight as she always is.\n", "\n", "\tA waiter gives them two glasses of champagne. Track with the WAITER an\n", "he leaves the hall with his empty tray. He enters a small room reserved for\n", "staff.\n", "\n", "177\tINT. STAFF ROOM FHLOSTON PARADISE - NIGHT\n", "\n", "\tThe waiter joins some other WAITERS. They are well armed. He opens a\n", "cupboard and pulls out a humongous weapon. Suddenly their faces burn off\n", "revealing AKANIT, the young leader of the Mangalores, and his troops.\n", "\n", "\t\t\t\t\t\tAKANIT\n", "\t\t\t\tIt's showtime!\n", "\n", "178\tINT. CONCERT HALL\n", "\n", "\tThe lights dim slowly in the concert hall.\n", "\n", "179\tINT. PRESIDENT'S OFFICE\n", "\n", "\tPresident Lindbergh and his staff, including Munro, sit at the desk.\n", "Speakers appear.\n", "\n", "180\tINT. KORBEN'S SUITE\n", "\n", "\tLeeloo, still a prisoner, listens to the concert.\n", "\n", "181\tINT. CONCERT HALL\n", "\n", "\tKorben is tense. The curtain rises. The Diva, in a stunning gown,\n", "stands in the center of the stage, head bowed. Behind her, a star filled\n", "window. The MUSIC begins. The Diva looks up, a rare beauty, but an alien.\n", "And then she begins to sing. Her voice is divine, unmatched. Korben is\n", "swept up in the TEARS.\n", "\n", "182\tINT. KORBEN'S SUITE\n", "\n", "\tLeeloo has tears in her eyes\n", "\n", "183\tINT. DIVA'S SUITE\n", "\n", "\tThe manager couldn't care less about the concert. His main problem is\n", "the bottle of scotch he can't seem to open. The doorbell RINGS.\n", "\n", "\t\t\t\t\t\tMANAGER\n", "\t\t\t\t\t(ugly mood)\n", "\t\t\t\tYeah!?\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tFlowers for the Diva.\n", "\n", "\t\t\t\t\t\tMANAGER\n", "\t\t\t\tShe's allergic to flowers!!!\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tThere's champagne as well...\n", "\n", "\tThe manager takes one look at the stubborn bottle and opens the door. And\n", "finds himself staring down the barrel of a gun. A dozen Mangalores rush\n", "in. One of them, with a human face, closes the door and waits out in the hall.\n", "\n", "\tANGLE ON:\n", "\n", "\tCornelius watching from around the corner.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t...My God!\n", "\n", "184\tINT. CONTROL ROOM FHLOSTON PARADISE\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tCommander, I have a ship with a main\n", "\t\t\t\tmalfunction. He requests permission to\n", "\t\t\t\tdock for repairs.\n", "\n", "\t\t\t\t\t\tCOMMANDER\n", "\t\t\t\tDid you check out his registration number?\n", "\n", "\t\t\t\t\t\tCAPTAIN\n", "\t\t\t\tEverything's in order.\n", "\n", "\t\t\t\t\t\tCOMMANDER\n", "\t\t\t\tPut him in the docking garage and inform\n", "\t\t\t\tthe police.\n", "\n", "185\tINT. COCKPIT ZFX200 - NIGHT\n", "\n", "\t\t\t\t\t\tCAPTAIN (V.O.)\n", "\t\t\t\tPermission granted. Dock 575. You have\n", "\t\t\t\tan hour. Will that be enough time'?\n", "\n", "\tZorg sits at the controls.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(cold)\n", "\t\t\t\tMore than enough.\n", "\n", "186\tEXT. FHLOSTON PARADISE - NIGHT\n", "\n", "\tThe ZFX approaches Fhloston.\n", "\n", "187\tINT. KORBEN'S SUITE\n", "\n", "\tThe ship comes close enough for Leeloo to see it out the window.\n", "\n", "\tFLASHBACK:\n", "\n", "\tThe same ships with Mangalores at the controls attack the Mondoshawans at\n", "the beginning of our story.\n", "\n", "188\tINT. KORBEN'S SUITE\n", "\n", "\tLeeloo is alarmed. She has to act. She seizes the flourescent bar beam\n", "with great effort and rams it into the ceiling, marking a hole large enough\n", "for her to escape.\n", "\n", "189\tINT. CLOSET FHLOSTON PARADISE\n", "\n", "\tCornelius bursts into the closet he left the Chief of Police tied and\n", "gagged in. He quickly unties him.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(in a panic)\n", "\t\t\t\tMangalores! The Diva's suite! They want\n", "\t\t\t\tthe Sacred Stones! They must be stopped.\n", "\t\t\t\tWe must stop them!. I'm going to free you\n", "\t\t\t\tbut you must promise to help me!\n", "\n", "\tThe Chief of Police nods his agreement.\n", "\n", "190\tINT. DIVA'S SUITE\n", "\n", "\tThe Mangalores have trashed the suite. One of the Mangalores finally\n", "finds a case engraved with the four elements.\n", "\n", "\t\t\t\t\t\tMANGALORE\n", "\t\t\t\tI have it.\n", "\n", "\tThe Mangalore is about to open the case when... Leeloo descends quietly\n", "and gracefully from the ceiling. Time stands still.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t(smiling)\n", "\t\t\tApipoulai!\n", "\n", "191\tINT. CONCERT HALL\n", "\n", "\tThe Diva switches from classical music to funk, picking up the tempo.\n", "\n", "\tINTERCUT':\n", "\n", "192\tINT. DIVA'S SUITE / CONCERT HALL.\n", "\n", "\tA WARRIOR whips out the biggest knife ever made and rushes Leeloo. She\n", "disarms him gracefully. A violent fight breaks out. The Diva sings and\n", "Leeloo dances. The Mangalores pay a heavy price for the show.\n", "\n", "193\tINT. CORRIDOR\n", "\n", "\tHearing noise from inside the suite, the Mangalore by the door gets\n", "nervous. He runs for reinforcements.\n", "\n", "194\tINT. POLICE STATION\n", "\n", "\tCornelius enters the police station wearing handcuffs. The Chief of\n", "Police is behind him holding a gun.\n", "\n", "195\tINT. DIVA'S SUITE / CONCERT HALL\n", "\n", "\tLeeloo knocks out the last Mangalore just as the Diva finishes her song\n", "to a burst of applause. The Diva takes a bow. So does Leeloo.\n", "\n", "196\tINT. ROOM\n", "\n", "\tAkanit and his men listen to the concert. The Mangalore guard runs in.\n", "\n", "\t\t\t\t\t\tMANGALORE\n", "\t\t\t\tThey were waiting for us! It was an\n", "\t\t\t\tambush!\n", "\n", "\t\t\t\t\t\tAKANIT\n", "\t\t\t\tIf it's war they want it's war they'll get!\n", "\t\t\t\tEnact the Final Plan!\n", "\n", "\tAll the Mangalores cock their weapons.\n", "\n", "197\tINT. DIVA'S SUITE\n", "\n", "\tLeeloo is about to open the case when the door EXPLODES. Zorg is there\n", "holding a ZF1.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tMy compliments, little lady!\n", "\t\t\t\t...And thanks for doing all the dirty work!\n", "\t\t\t\tI couldn't have done it any better myself!\n", "\t\t\t\t\t(sharply)\n", "\t\t\t\t...Now hand over the Stones!\n", "\n", "\tLeeloo smiles and hands him the case. Zorg arms the ZF1 and gets ready\n", "to kill her.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tNice knowing you.\n", "\n", "\tLeeloo catches on quickly. She kicks the scotch bottle on the floor into\n", "the gun which throws Zorg's shot off. She jumps to the ceiling and\n", "disappears in an air vent. Furious, Zorg fires at the ceiling.\n", "\n", "198\tINT.\tAIRSHAFT\n", "\n", "\tLeeloo dodges the bullets as best as she can.\n", "\n", "199\tINT. SUITE\n", "\n", "\tZorg fires his 3000 round clip. The ceiling looks like a piece of swiss\n", "cheese. Zorg sticks a small cylinder in the wall and flicks it on. The\n", "numbers flashing by tell us it's a bomb. The timer reads: 19 minutes and 59\n", "seconds.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(with a crafty smile)\n", "\t\t\t\tYou can run but you can't hide...\n", "\n", "200\tINT. POLICE OFFICE FHLOSTON PARADISE - NIGHT\n", "\n", "\tCornelius is seated opposite the Chief of Police. A MEDIC is bandaging\n", "the chief's head. The door explodes. The cop outside in riddled with\n", "bullets. A dozen Mangalores attack the police office. Akanit is at\n", "their head. The policemen are caught unaware.\n", "\n", "\t\t\t\t\t\tAKANIT\n", "\t\t\t\tNobody move! We're taking over this\n", "\t\t\t\tship!\n", "\n", "\tThe Chief of Police is goggle-eyed. Cornelius leans toward him.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(pleased with himself)\n", "\t\t\t\tI told you...\n", "\n", "201\tINT. CORRIDOR\n", "\n", "\tZorg has the case and exits the suite just as the general alarm goes off.\n", "\tHe sighs in exasperation.\n", "\n", "202\tINT. CONCERT HALL\n", "\n", "\tThree Mangalores suddenly rush into the opera hall shooting.\n", "\n", "\t\t\t\t\t\tMANGALORE 1\n", "\t\t\t\tEveryone down!\n", "\n", "\tThere is panic all around.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(broadcasting, panic stricken)\n", "\t\t\t\tLadies and gentlemen, I think we're being...\n", "\t\t\t\tattacked. The place is crawling with warriors.\n", "\n", "203\tINT. PRESIDENT'S OFFICE\n", "\n", "\tPresident Lindberg and his generals look very worried.\n", "\n", "204\tINT. CONCERT HALL\n", "\n", "\tSome security guards open fire one of the Mangalores is hit. The others\n", "turn their guns on the cops. People scream, diving for cover. Korben bides\n", "his time.\n", "\n", "\tMore Mangalores rush in from all around shooting. Two cops are killed.\n", "\tThe Diva... takes a bullet.\n", "\n", "\tShe falls from the stage into Korben's arms. He lowers her to the floor.\n", "Korben ignores the panic all around and wraps her in his dinner jacket,\n", "trying to stop the blue blood spurting from her wounds.\n", "\n", "205\tEXT./ INT. SPACE AROUND FHLOSTON\n", "\n", "\tZorg's ZFX200 speeds away from the boat. Zorg is at the controls, a\n", "devilish smile on his lips.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tYou want something done, do it yourself!\n", "\n", "206\tINT. CONCERT HALL\n", "\n", "\tFighting rages all around in the concert hall, but Korben is oblivious to\n", "it. He sets the Diva's head delicately on the floor. Loc Rhod is hidden\n", "nearby, still on the air.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(voice low, panicked)\n", "\t\t\t\tThey're hideous. They've got a crest on\n", "\t\t\t\tthe head, the eyes of a toad and fingers\n", "\t\t\t\tall over their hands. Totally hideous!\n", "\n", "207\tINT. PRESIDENT'S OFFICE.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\t\t(worried)\n", "\t\t\t\t...Mangalores!\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tSend a battalion out immediately!\n", "\n", "208\tINT. CONCERT HALL\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to the Diva)\n", "\t\t\t\tI was sent by the government to help you.\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\tDon't worry. This is my fate...\n", "\t\t\t\tHow was the concert?\n", "\n", "\tKorben is a little surprised, but... the Diva is an artist.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI've never heard anything so beautiful\n", "\t\t\t\tin my life.\n", "\n", "\tA Mangalore jumps on them from the stage. Korben makes short work of him\n", "and grabs his gun.\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\t\t(weak)\n", "\t\t\t\tYou're a good man...\n", "\t\t\t\tShe was right to have chosen you...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWho?\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\tThe Fifth Element...\n", "\t\t\t\tThe Supreme Being... Your wife...\n", "\n", "\tKorben is floored.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLeeloo... is... she's...\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\tYes, and more than that... You must\n", "\t\t\t\tgive her the Stones, she's the only one\n", "\t\t\t\twho knows how to use them.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to himself, suddenly\n", "\t\t\t\t\trealizing)\n", "\t\t\t\t...So Cornelius was telling the truth!\n", "\n", "209\tINT. POLICE STATION\n", "\n", "\tThe Mangalores tie up Cornelius and the Chief of Police together.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(to the Chief of Police)\n", "\t\t\t\tOf course I was telling you the truth!...\n", "\t\t\t\tIf you had listened to me in the first place,\n", "\t\t\t\twe wouldn't be in this predicament now!\n", "\n", "210\tINT. CONCERT HALL\n", "\n", "\tKorben wastes two more Mangalores.\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\tShe needs you. She needs your help and\n", "\t\t\t\tyour love. She's more fragile than she seems...\n", "\n", "\tKorben looks around, ready for another attack.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...Yeah, so am I.\n", "\n", "\tThe Diva takes his hand.\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\tShe was taught to love the life of others...\n", "\t\t\t\tbut not her own. You have to teach her\n", "\t\t\t\tto love if you want her to truly live!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(uncomfortable)\n", "\t\t\t\tI'll help her, I promise, but I think you\n", "\t\t\t\tshould tell me where the Stones are!\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\tDo you love her?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI... I don't know! We hardly know\n", "\t\t\t\teach other... it takes time!\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\tI don't have time... I need to know.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tListen, the last time I admitted to a woman\n", "\t\t\t\tI loved her ... I never saw her again.\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\tI would like to have died in peace...\n", "\n", "\tThe Diva's eyes close.\n", "\n", "211\tINT. DIVA'S SUITE\n", "\n", "\tThe timer on Zorg's bomb clicks over to \"15 minutes\".\n", "\n", "212\tINT. CONCERT HALL\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou tell me to save the world then\n", "\t\t\t\tyou go off and leave me in the shit!\n", "\n", "\tHe shakes her, gently slapping her cheeks.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tCome on! You're not gonna die in peace!\n", "\t\t\t\tYou're not going to die at all! You hear me?\n", "\t\t\t\tWhere are the Stones?\n", "\n", "213\tINT. SPACESHIP\n", "\n", "\tZorg sets the Sacred Case on a table in the cockpit. He opens it with a\n", "complacent smile:\t\tIt's empty!\n", "\n", "\tHe cannot believe his eyes. He goes berserk, destroying everything in\n", "sight.\n", "\n", "214\tINT. CONCERT HALL\n", "\n", "\tKorben slaps the Diva soundly. She comes around somewhat.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI'm sorry, but... the Stones...\n", "\n", "\t\t\t\t\t\tDIVA\n", "\t\t\t\t\t(very weak)\n", "\t\t\t\tThey are... with me...\n", "\n", "\tThe Diva dies. Blue blood streams from her mouth. Korben frisks the\n", "Diva but doesn't find anything. The shooting slowly stops in the theatre.\n", "The Mangalores are now in total control.\n", "\n", "\t\t\t\t\t\tMANGALORE 2\n", "\t\t\t\tStay calm and nobody will get hurt!\n", "\t\t\t\tHands on your head and into the hall!\n", "\n", "\tThe guests comply\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to himself)\n", "\t\t\t\t...The Stones are with me?\n", "\n", "\tand then it occurs to him.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t...In me?\n", "\n", "\tHe touches the Diva's stomach and senses something hard. Girding\n", "himself, he sticks his hand in the wound and pulls out a Sacred Stone.\n", "Then another. And another. Korben pulls out all four Stones, covered in blue\n", "blood. Everyone has left the theater. The Mangalores check the aisles one\n", "by one.\n", "\n", "\tLoc Rhod peeks out from under a seat.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tDon't you think we'd better be going?\n", "\n", "\tA Mangalore spots Korben kneeling alongside the Diva. He grabs Korben by\n", "the shoulder and pokes him with his gun.\n", "\n", "\t\t\t\t\t\tMANGALORE\n", "\t\t\t\tHey, you! With the others!\n", "\n", "\tKorben spins and, in one swift motion, breaks his arm. Just for\n", "starters. Another WARRIOR rushes over. Korben punches him into oblivion\n", "and snatches the gun.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThat's it... I've had... all day people\n", "\t\t\t\thave been sticking guns in my face...\n", "\n", "\tKorben wraps up the four Stones in his shirt.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tKorben man... These dudes are going\n", "\t\t\t\tto waste us if we don't do what they say.\n", "\n", "\tKorben gives him the package and grabs his mike.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou don't do what I say... I'll waste\n", "\t\t\t\tyou myself. Got it?\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tGot it...\n", "\n", "215\tINT. PRESIDENT'S OFFICE\n", "\n", "\tPresident Lindberg dabs his sweaty face with a towel.\n", "\n", "216\tINT. POLICE STATION\n", "\n", "\tAkanit is still in the police station facing control screens. He barks\n", "into a\n", "\twalkie-talkie.\n", "\n", "\t\t\t\t\t\tAKANIT\n", "\t\t\t\tWhat's the situation in the hall?\n", "\n", "217\tINT. HALL\n", "\n", "\tHostages are being gathered in the middle of the hall. They are\n", "surrounded by Mangalores who guard them.\n", "\n", "\t\t\t\t\t\tMUGGER\n", "\t\t\t\t\t(into walkie-talkie)\n", "\t\t\t\tThere's no more resistance.\n", "\t\t\t\tEverything's under control.\n", "\n", "\tThree Mangalores are suddenly blasted through the glass door leading to\n", "the theater. Korben bursts into the hall, two huge guns in his hands.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tEverybody down!\n", "\n", "\tKorben takes out two more WARRIORS coming towards him, rolls behind a\n", "column.\n", "\tLaser bullets stinging all around his head.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tThis is amazing! Korben, Korben Dallas,\n", "\t\t\t\tthe winner of the Gemini Croquette\n", "\t\t\t\tcontest just killed three warriors like he was\n", "\t\t\t\tswatting flies...\n", "\n", "\tPanic everywhere! Heavy firing fills the hall.\n", "\n", "\tANGLE ON:\n", "\n", "\tRoy von Bacon, the laserball player, rises from the floor behind a\n", "Mangalore, grabs him and smashes his head into a column, seizing the gun.\n", "\n", "\tANGLE ON:\n", "\n", "\tTwo Mangalores firing a huge machine gun at the column Korben is using\n", "for cover.\n", "\tHe dives for cover behind the bar.\n", "\n", "\tANGLE ON:\n", "\n", "\tTwo Mangalores watch awestruck. Roy whistles behind them. The two\n", "Mangalores turn around. Roy bonks their heads together.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tIt's Roy von Bacon, the Lions center\n", "\t\t\t\tforward joining in the battle...\n", "\n", "\tSomeone taps Loc Rhod on the shoulder. He jumps with fright.\n", "\n", "\t\t\t\t\t\tPRINCESS AACHEN\n", "\t\t\t\t\t(hot to trot)\n", "\t\t\t\tAll this is terribly exciting, hmmm?\n", "\n", "\tLoc Rhod covers his mike.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tGET OFF MY BACK!\n", "\n", "\tA Mangalore shoots in their direction. Loc Rhod flattens himself on the\n", "floor. A vase falls on the Princess knocking her out. A Mangalore loads\n", "some missiles in his gun and destroys the bar piece by piece forcing Korben to\n", "move forward. Korben motions to Baby Ray hiding under the pool table.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tToss me the balls!\n", "\n", "\t\t\t\t\t\tBABY RAY\n", "\t\t\t\t\t(terrified, still deaf)\n", "\t\t\t\tWhat?\n", "\n", "\tAnother piece of the bar explodes.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThe balls for Christ's sake!\n", "\n", "\tKorben apes playing pool, but Baby Ray really is stone-deaf.\n", "\n", "\t\t\t\t\t\tEMPEROR JAPHET\n", "\t\t\t\tHe wants the balls! You deaf or something?\n", "\n", "\tThe EMPEROR rolls the balls over to Korben. The Mangalore loads more\n", "missiles and shatters another part of the bar. Korben hides behind the last\n", "bit left.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tHow far is he from here?\n", "\n", "\tThe EMPEROR glances at the Mangalore, who in reloading.\n", "\n", "\t\t\t\t\t\tEMPEROR\n", "\t\t\t\tI'd say about thirty yards to the left.\n", "\n", "\tKorben hefts the ball, jumps up and hurls it with blinding speed. The\n", "Mangalore catches it right in the head. He drops, firing in the air. The\n", "missile strikes the ceiling which collapses on him. The emperor gives Korben\n", "a thumb's up.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t...And our man Korben has literally\n", "\t\t\t\tknocked out the opposition with an\n", "\t\t\t\tamazing 90 foot pitch.\n", "\n", "\tThe COPS on the floor rise, scoop up weapons from dead Mangalores and lay\n", "down a line of fire at the last of the fleeing rebels . Roy whirls his arm\n", "in victory.\n", "\n", "\t\t\t\t\t\tFOG\n", "\t\t\t\tThanks for your help.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tForget it.\n", "\n", "\tKorben grabs Loc Rhod and takes him with him.\n", "\n", "218\tINT. KORBEN'S SUITE\n", "\n", "\tKorben bursts into the room. He stares at the luminous bar still struck\n", "to the ground and sees the hole Leeloo escaped through.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLeeloo???\n", "\n", "219\tINT. DIVA'S SUITE - CEILING\n", "\n", "\tLeeloo in bleeding all over. She can barely move.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(feeble)\n", "\t\t\t\tKor... ban...\n", "\n", "220\tEXT. NEAR FHLOSTON\n", "\n", "\tThe ZFX 200 speeds back toward Fhloston Paradise.\n", "\n", "221\tINT. DIVA'S SUITE\n", "\n", "\tThe bomb timer now reads 10 minutes.\n", "\n", "222\tINT. POLICE STATION HALLWAY - FHLOSTON PARADISE\n", "\n", "\tThe last of the Mangalores have barricaded themselves in the back of the\n", "station and shoot at anything that tries to enter. Korben joins the\n", "policemen already there.\n", "\n", "\t\t\t\t\t\tCOP 1\n", "\t\t\t\tHey, who are you?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThe winner of the Gemini Croquette contest.\n", "\n", "\tKorben goes to the door and peeks around the corner. Loc Rhod arrives.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tSeven to the left. Five to the right.\n", "\n", "\t\t\t\t\t\tCOP\n", "\t\t\t\tWhat's he doing?\n", "\n", "\tKorben leans around the corner and fires rapidly.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tSix to the left. One to the right.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tHe's on vacation.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(reloading)\n", "\t\t\t\tWe got to find the leader. Mangalores\n", "\t\t\t\tdon't fight without a leader.\n", "\n", "223\tINT. POLICE STATION\n", "\n", "\tAkanit gets up, grabs Cornelius by the throat and put a gun to his head.\n", "\n", "\t\t\t\t\t\tAKANIT\n", "\t\t\t\tOne more shot and we start killing\n", "\t\t\t\thostages, got that?\n", "\n", "224\tINT. POLICE STATION HALLWAY\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFound him...\n", "\n", "\t\t\t\t\t\tAKANIT\n", "\t\t\t\t\t(tense)\n", "\t\t\t\tSend someone to negotiate!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tMind if I go? I'm an excellent\n", "\t\t\t\tnegotiator.\n", "\n", "\t\t\t\t\t\tCOP 1\n", "\t\t\t\tUh... Sure, go ahead.\n", "\n", "\tKorben gets ready.\n", "\n", "\t\t\t\t\t\tCOP 1\n", "\t\t\t\tWe're sending someone in who's\n", "\t\t\t\tauthorized to negotiate.\n", "\n", "225\tINT. POLICE STATION\n", "\n", "\tKorben walks quickly into the room, heads straight for Akanit, raises his\n", "gun and puts a bullet through his head.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tAnyone else want to negotiate?\n", "\n", "\t\t\t\t\t\tCOP 2\n", "\t\t\t\t\t(to another Cop)\n", "\t\t\t\tWhere'd he learn to negotiate like that?\n", "\n", "226\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tFrom us!\n", "\n", "\tThe President gives Munro a hard look.\n", "\n", "227\tINT. CONTROL ROOM\n", "\n", "\tThe police round up the remaining Mangalores. Korben is at the control\n", "center screens trying to find Leeloo. Cornelius comes over to him,\n", "embarrassed.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tYou're probably very angry with me and\n", "\t\t\t\tI quite understand. But I want you to\n", "\t\t\t\tknow I'm fighting for a noble cause.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYeah, I know... to save the world... but\n", "\t\t\t\tright now all I want to do is save Leeloo.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tLeeloo's in trouble?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhen is she not in trouble?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tUh.. Have you tried the Diva's suite?\n", "\n", "\tKorben realizes that Cornelius in probably right.\n", "\n", "228\tINT. FHLOSTON PARADISE LANDING DOCK AND GARAGE\n", "\n", "\tThe ZFX200 settles in the landing dock garage. SECURITY POLICE approach\n", "the ship just as Zorg in getting out holding the ZF1.\n", "\n", "\t\t\t\t\t\tPOLICEMAN\n", "\t\t\t\tMore trouble?\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tNothing I can't fix myself.\n", "\n", "\tHe brings up the ZF1 and wipes out the garage.\n", "\n", "229\tINT. DIVA'S SUITE\n", "\n", "\tKorben enters the Diva's suite which is in shambles. He looks\n", "everywhere, but finds nothing.\n", "\n", "230\tINT. AIRSHAFT\n", "\n", "\tLeeloo lies in a pool of blood. She hears something below her.\n", "\n", "231\tINT. DIVA'S SUITE\n", "\n", "\tExhausted, Loc Rhod wipes his forehead and finds himself face to face\n", "with the bomb stuck on the wall.\n", "\n", "\tKorben in busy looking for Leeloo.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(loudly)\n", "\t\t\t\tLeeloo?\n", "\n", "\tUp in the airshaft, Leeloo has heard him.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tKorben...\n", "\n", "\tHer voice is too weak, Korben can't hear her.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tKorben man... what the hell is this?\n", "\n", "\tKorben gives the bomb a prefunctory glance.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tA molecular bomb.\n", "\n", "\tThree minutes left on the timer.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(increasingly worried)\n", "\t\t\t\tAnd, uh, what're these numbers clicking\n", "\t\t\t\tby?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tProbably the time remaining before it\n", "\t\t\t\texplodes.\n", "\n", "\tCornelius smiles and continues his search.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(weak smile)\n", "\t\t\t\tYou're just saying that to scare me! Right?\n", "\t\t\t\tIf it was a bomb, an alarm would've gone off.\n", "\t\t\t\tThere's bomb detectors in all these hotels!\n", "\n", "\tA general alarm goes off. Loc Rhod is crushed.\n", "\n", "232\tINT. MAIN HALL\n", "\n", "\tThe lights flicker.\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tThis is a Type A alert. For security reasons\n", "\t\t\t\tthe hotel must be evacuated. Please proceed\n", "\t\t\t\tcalmly to the lifeboats located in the main\n", "\t\t\t\thallways.\n", "\n", "\tA wave of panic engulfs the hall. The cops are unable to hold back the\n", "crowd as it stampedes to the exits.\n", "\n", "233\tINT. CORRIDOR\n", "\n", "\tZorg marches down the corridor shooting everyone in his path.\n", "\n", "234\tINT. DIVA'S SUITE\n", "\n", "\tLoc Rhod stands paralyzed in front of the flashing timer. Less than two\n", "minutes left.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tMaybe we oughta be going,\n", "\t\t\t\twhat do you think?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tNot without Leeloo.\n", "\n", "\tLoc Rhod cannot take his eyes off the bomb.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tLike D-Man, I hate to bother you but uh,\n", "\t\t\t\tlike, we're down to 2 minutes here...\n", "\n", "\tKorben breathes out, bothered. He turns his attention to the bomb.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIt's the latest model.. I've never seen one\n", "\t\t\t\tbefore... it works off a magnetic coded\n", "\t\t\t\tcard... Let's see if I can rig it up.\n", "\n", "235\tINT. AIRSHAFT\n", "\n", "\tLeeloo sticks her fingers out one of the bullet holes and lets some of\n", "her blood drip down.\n", "\n", "\tThe blood splats on Korben's hand. He snaps his head up and knows\n", "immediately who is up there. He forgets about the bomb.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tHey! What are you doing? The bomb!\n", "\n", "\tKorben drags the desk over, jumps on it and pokes his head in the torn up\n", "airshaft He spots Leeloo who gives him a weak smile.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tDon't worry, I'm here now!\n", "\n", "\tHe pulls her toward him, helps her out of the shaft and stretches her out\n", "on the desk.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tJust relax. I've got the Stones.\n", "\t\t\t\tEverything's going to be fine.\n", "\n", "\t30 seconds left on the timer.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(falling to pieces)\n", "\t\t\t\tLike Korben, can I have 30 seconds of\n", "\t\t\t\tyour time here?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to Leeloo)\n", "\t\t\t\tI'll be right back.\n", "\n", "\tKorben dashes over to the bomb. He is stopped by the barrel of the ZF1.\n", "Zorg, in person, holding a magnetic card.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(smiling)\n", "\t\t\t\tAllow me...\n", "\n", "\tZorg slips a small magnetic card in the bomb, it starts to count down\n", "from 5 minutes.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tJust for the fun of it.\n", "\n", "\tLoc Rhod faints.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tWell, what do we have here? Is this\n", "\t\t\t\tKorben Dallas? The famous winner of\n", "\t\t\t\tthe Gemini Croquette contest?\n", "\t\t\t\tOr is this Korben Dallas from Special\n", "\t\t\t\tSection sent by old Lindberg himself.\n", "\n", "\tKorben doesn't reply.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...In any event, whoever you are,\n", "\t\t\t\tI was glad to meet you.\n", "\n", "\tZorg fires at Korben who figures he is dead. Nothing. Zorg tries again.\n", "Nada. The clip is empty. Zorg starts to panic.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t...A 3000 round clip! I didn't fire off\n", "\t\t\t\t3000 rounds... did I?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tDon't you know how to count.\n", "\t\t\t\tIt's not all that hard. Watch!\n", "\n", "\tKorben punches him square in the face, shows him his index.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tOne! That's for trying to kill me!\n", "\n", "\tSecond Punch.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tTwo! That's for firing me! Three!\n", "\t\t\t\tThat's for pushing around a priest!\n", "\t\t\t\tAnd the rest is for what you did to\n", "\t\t\t\tmy wife!\n", "\n", "\tKorben pummels him mercilessly.\n", "\n", "236\tINT. PRESIDENT'S OFFICE\n", "\n", "\tPresident Lindberg prefers closing his eyes. Munro's shoulders move as\n", "if he were beating on Zorg.\n", "\n", "237\tINT. DIVA'S SUITE\n", "\n", "\tZorg falls to the floor, beaten to a pulp. The timer clicks over to 3\n", "minutes.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWe're outta here!\n", "\n", "\tHe picks Leeloo up in his arms.\n", "\n", "\tCornelius grabs Loc Rhod and gives him a resounding slap.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tAre you nuts, Father? That hurts! I\n", "\t\t\t\tcan't feel my teeth.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tDoesn't matter all you need are your\n", "\t\t\t\tlegs.\n", "\n", "238\tEXT. FHLOSTON PARADISE - NIGHT\n", "\n", "\tThe lifeboats launch from the hotel and fly out into space.\n", "\n", "239\tINT. FHLOSTON PARADISE LANDING DOCK GARAGE\n", "\n", "\tKorben, carrying Leeloo, Cornelius and Loc Rhod are in the garage.\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tTwo minutes to complete evacuation...\n", "\n", "\tKorben bursts the lock on the first ship he finds and enters followed by\n", "Cornelius and Loc Rhod. The ZFX200.\n", "\n", "240\tINT. DIVA'S SUITE\n", "\n", "\tZorg starts to come around.\n", "\n", "241\tINT. ZFX200\n", "\n", "\tKorben sets Leeloo down.\n", "\n", "242\tINT. DIVA'S SUITE\n", "\n", "\tZorg picks up his ZF1, unaware of the bomb and the countdown.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tI didn't fire three thousand rounds...\n", "\n", "243\tINT. ZFX2O0 COCKPIT\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\tOne minute to total evacuation...\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tYou know how to fly this thing?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(concentrating)\n", "\t\t\t\tIt's like a cab isn't it?\n", "\n", "\t\t\t\t\t\tVOICE\n", "\t\t\t\t30 seconds...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tAnyone know how to release the lines\n", "\t\t\t\ton this crate?\n", "\n", "244\tINT. DIVA'S SUITE\n", "\n", "\tZorg is busy with the ZF1 when the bomb starts to BEEP signaling the last\n", "ten seconds. Zorg is terror stricken. He pushes a button and holds the\n", "ZF1 over his head.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(loudly)\n", "\t\t\t\tMaximum Protection.\n", "\n", "\tA mauve-colored magnetic shield closes around Zorg like an indestructible\n", "\tsarcophagus.\n", "\n", "245\tINT. ZFX200 COCKPIT\n", "\n", "\tCornelius and Loc Rhod are bent over the buttons looking for a way to\n", "release the lines.\n", "\n", "\t\t\t\t\t\tVOICE (O.S.)\n", "\t\t\t\t6... 5...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFound it?\n", "\n", "\tLoc Rhod searches frantically.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tI don't even know what I'm looking for!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tFuck it! Hold tight!\n", "\n", "\tKorben slams the throttle into full forward. The ship roars away ripping\n", "the lines to shreds.\n", "\n", "\tLoc Rhod is thrown to the rear of the ship.\n", "\n", "\tCUT TO:\n", "\n", "\tThe counter goes 1... 0\n", "\n", "\t-The suite disintegrates - The corridor is consumed.\n", "\n", "\t-The main hall is no more.\n", "\n", "246\tEXT. FHLOSTON PARADISE\n", "\n", "\tThe ZFX200 jets away as the enormous oceanliner explodes behind it.\n", "\n", "247\tINT. ZFX200\n", "\n", "\tThe ship stops shaking. That was a close one. Everyone's relieved.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tSolid little jobs, aren't they?\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(broadcasting, exhausted)\n", "\t\t\t\tDear listeners, your favorite DJ is alive and\n", "\t\t\t\tkicking. It's seven o'clock and time for the\n", "\t\t\t\tnews. Tune in tomorrow for another adventure.\n", "\n", "\t\t\t\t\t\tVOCODER (O.S.)\n", "\t\t\t\tBeep. End of transmission.\n", "\n", "\tLoc Rhod lets out a huge sigh.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(to the others)\n", "\t\t\t\tThe best show I ever did!\n", "\n", "248\tEXT. PLANET FHLOSTON\n", "\n", "\tA magnetic sarcophagus crosses the Fhloston sky and crashes into a\n", "glacier.\n", "\n", "249\tEXT. FHLOSTON\n", "\n", "\tZorg appears in the middle of the ice. He takes a portable phone out of\n", "the ZF1.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tHow's that? Can you hear me better\n", "\t\t\t\tnow?\n", "\n", "\t\t\t\t\t\tSECRETARY (O.S.)\n", "\t\t\t\tYes, Mr. Zorg, I hear you perfectly!\n", "\t\t\t\tSo, how was the concert?\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tWho gives a shit! I didn't come here to\n", "\t\t\t\tlisten to music! Listen up instead of\n", "\t\t\t\trunning off at the mouth!\n", "\t\t\t\tThe batteries on my phone are almost gone.\n", "\n", "\t\t\t\t\t\tSECRETARY (O.S.)\n", "\t\t\t\tYes, Sir!\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tDispatch me another ZFX200 immediately.\n", "\t\t\t\tSomeone stole mine.\n", "\n", "\t\t\t\t\t\tSECRETARY (O.S.)\n", "\t\t\t\tRight away, Sir. I'll send you a new one to\n", "\t\t\t\tthe hotel.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tI'm not at the hotel!\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\tHello?...\n", "\n", "\t\t\t\t\t\tBEEPER (O.S.)\n", "\t\t\t\tBattery dead.\n", "\n", "\tZorg is all alone, lost, in the middle of the glacier.\n", "\n", "\t\t\t\t\t\tZORG\n", "\t\t\t\t\t(to himself)\n", "\t\t\t\tStay calm.... stay calm...\n", "\n", "250\tINT. PRESIDENT'S OFFICE\n", "\n", "\tGeneral Munro enters the office with a smile.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tMajor Dallas has the Five Elements on\n", "\t\t\t\tboard. The priest is guiding them directly\n", "\t\t\t\tto the temple.\n", "\n", "\tPresident Lindberg closes his eyes in relief.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tThank God! We've been saved!\n", "\n", "\tA SCIENTIST rushes in.\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\tMr. President.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tYes? Now, what?\n", "\n", "251\tEXT. SPACE\n", "\n", "\tA ball of fire, all-powerful Evil, speeds across the screen with three\n", "Federal Army warships following along behind it as best they can.\n", "\n", "252\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tWhat do you mean, \"its advancing\"?!\n", "\n", "253\tINT. COCKPIT FEDERATED WARSHIP\n", "\n", "\t\t\t\t\t\tCOMMANDER\n", "\t\t\t\tIt's not only advancing, but it's moving at\n", "\t\t\t\tincredible speed! We're having trouble\n", "\t\t\t\tfollowing it.\n", "\n", "254\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(to Scientist)\n", "\t\t\t\t...And... Do you have any idea where it's\n", "\t\t\t\theading?\n", "\n", "\tThe scientist is hard to put to answer, he shakes his head.\n", "\n", "255\tINT. ZFX200 COCKPIT - NIGHT\n", "\n", "\tKorben gently wipes Leeloo's forehead with a cloth. She opens her eyes a\n", "little.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(gentle, loving)\n", "\t\t\t\tApipoulai..\n", "\n", "\tLeeloo smiles, weakly, feverish.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tI'm so very sad.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhy? We did pretty well, wouldn't\n", "\t\t\t\tyou say?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tFive hundred wars... Arms... Drugs...\n", "\t\t\t\tMoney...\n", "\t\t\t\tEverything you create is used to destroy...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI told you not to read all that crap!\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tProtect life... Until death.\n", "\n", "\tHer eyes close and she falls back asleep. Korben is worried. She seems\n", "so depressed. Cornelius enters.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThere's a General on the phone...\n", "\t\t\t\tHis name's Mambo, I think.\n", "\n", "256\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tMunro here. President Lindberg wants\n", "\t\t\t\tto talk to you. Hold the line.\n", "\n", "\tThe President clears his throat and takes the phone.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tMajor, first off, I want to thank you,\n", "\t\t\t\tin my name and in the name of the\n", "\t\t\t\tFederation...\n", "\n", "257\tINT. ZFX200 / PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tPRESIDENT (O.S.)\n", "\t\t\t\tFor the praiseworthy courage you have\n", "\t\t\t\tshown us! I'd like to congratulate General\n", "\t\t\t\tMunro for his choice. He found the ideal\n", "\t\t\t\tman for such a...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\t\t(to the point)\n", "\t\t\t\tSo now what's the problem?\n", "\n", "\tThe President drops into his armchair and sighs.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tThere's a ball of fire 1,200 miles in diameter\n", "\t\t\t\theading straight for the earth. And we have\n", "\t\t\t\tno idea how to stop it! ...That's the problem.\n", "\n", "\tKorben thinks fast. The Priest is with him. The Five Elements are on\n", "board.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tHow much time before the collision?\n", "\n", "\tThe President queries the scientist with a nod of the head.\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\tIf its speed remains constant... in an\n", "\t\t\t\thour and 57 minutes.\n", "\n", "\t\t\t\t\t\tKORBEN (O.S.)\n", "\t\t\t\tI'll call you back in two hours.\n", "\n", "\tKorben hangs up. The President looks stunned.\n", "\n", "258\tEXT. SPACE\n", "\n", "\tThe ZFX200 shifts to the speed of light and vanishes in the star-studded\n", "cosmos.\n", "\n", "259\tINT. CHAPEL\n", "\n", "\tDavid is asleep. He is woken by the sound of...\n", "\n", "260\tEXT. DESERT - DAWN\n", "\n", "\tThe ZFX200 is parked in the middle of the desert.\n", "\n", "\tKorben walks ahead carrying Leeloo. Cornelius has the four Stones with\n", "him.\n", "\tBarely awake, Loc Rhod stumbles along. David appears at the door of the\n", "chapel.\n", "\n", "\t\t\t\t\t\tDAVID\n", "\t\t\t\tYou're all safe. Thanks be to God!\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tLater, David! Later!\n", "\t\t\t\tThere's not a minute to lose!\n", "\n", "\tThe small group enters the chapel.\n", "\n", "261\tINT. CHAPEL\n", "\n", "\tCornelius pushes the group onto the altar which is surrounded by a wooden\n", "barrier. Cornelius stands in front of the cross.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tExcuse me, Father, but... could we pray\n", "\t\t\t\tlater?\n", "\n", "\tCornelius bends the cross and pushes it down. A mechanism is set off\n", "lowering the altar like a service elevator.\n", "\n", "\tThe altar descends amid rocky walls.\n", "\n", "262\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tThey just landed in the desert.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(sweating)\n", "\t\t\t\tHow much time is left?\n", "\n", "263\tEXT. SPACE\n", "\n", "\tEarth is in view. The Dark Planet fills the screen and heads for the\n", "blue planet.\n", "\n", "264\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\tAbout nine minutes.\n", "\n", "\tPresident Lindberg has trouble breathing.\n", "\n", "265\tINT. TEMPLE\n", "\n", "\tLit by torches, Korben sets Leeloo delicately on the altar in the exact\n", "center of the four elements. Cornelius looks over the four Stones every\n", "which way.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(panic-stricken)\n", "\t\t\t\tUh, this one... must be water!\n", "\n", "\tIt's obvious he doesn't know where to put it.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tDon't tell me you don't know how all\n", "\t\t\t\tthis works?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tTheoretically, yes! The four Stones form\n", "\t\t\t\tthe beam and the Fifth Element is supposed\n", "\t\t\t\tto stand in the middle there, but...\n", "\t\t\t\tI don't have the reference book.\n", "\t\t\t\tI've never seen the Stones work!\n", "\n", "\tKorben can't believe his ears. He tears the Stone out of Cornelius' hand\n", "and studies the inscriptions. He goes over to one of the four bases the\n", "stones rest on and tries to figure it out. The symbol of air is on the Stone,\n", "the same as on the base.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tMatch the symbols!\n", "\n", "\tKorben places the first Stone and picks up another one. Cornelius has\n", "found the symbol for water. Loc Rhod sits down. He is very tired.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tWhat is this some kinda game? Like\n", "\t\t\t\tchess?\n", "\n", "\tKorben pulls him to his feet and sticks a Stone in his hands.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tNo. It's much simpler. If we don't figure\n", "\t\t\t\tout where these Stones go in five minutes,\n", "\t\t\t\twe're all dead! Think you got it?\n", "\n", "\tLoc Rhod's got it and runs over to put in his Stone. The four Stones are\n", "all in place but nothing happens.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThere's no light! You told me there were\n", "\t\t\t\tsupposed to be four beams of light.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(lost)\n", "\t\t\t\tYes, of course, but... The Stones are shut!\n", "\t\t\t\tThey have to be open for it to work.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tAnd you don't know how they open,\n", "\t\t\t\tis that what you are saying?\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tThat's what I'm saying.\n", "\n", "266\tEXT. SPACE\n", "\n", "\tThe Dark Planet closes in on Earth rapidly.\n", "\n", "267\tINT. CHAPEL\n", "\n", "\tKorben leans over Leeloo.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLeeloo? The Stones! We have to open\n", "\t\t\t\tthem! How does it work?\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(feeble)\n", "\t\t\t\tThe wind blows... the fire burns...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI know all that, Leeloo! I'm talking\n", "\t\t\t\tabout the Stones.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t...The rain falls...\n", "\n", "\tKorben is desperate. Leeloo's too weak, he won't get anything more out\n", "of her.\n", "\tHe darts over to a Stone and turns it over and over.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThe rain falls... the wind blows?\n", "\n", "\tLoc Rhod stands in front of his Stone looking at Korben.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tTry and figure out how this fucking thing\n", "\t\t\t\topens, instead of staring at me like that!\n", "\n", "\tLoc Rhod starts feeling the Stone all around.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(afraid)\n", "\t\t\t\tI'm looking, I'm looking.\n", "\n", "268\tINT. PRESIDENT'S OFFICE\n", "\n", "\tThe tension is palpable in the President's office.\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\t...Three minutes.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tWe've lost contact with them.\n", "\n", "269\tINT. CHAPEL\n", "\n", "\tKorben and Cornelius turn the Stones every which way. All to no avai1.\n", "Loc Rhod is discouraged.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t...we'll never make it.\n", "\n", "\tHe sighs. Three hooks pop off the Stone. Loc Rhod can't believe his\n", "eyes.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tIt... it moved! Korben! Korben!\n", "\n", "\tKorben rushes over, looks at the Stone. Hooks are undone.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tWhat did you say? What did you do?\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tNothing! Swear to God, I didn't do\n", "\t\t\t\tnothing!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLook, you did something that set it off.\n", "\t\t\t\tTry to remember. Concentrate. Tell me\n", "\t\t\t\texactly what you did!!\n", "\n", "\tLoc Rhod tries to duplicate the same movement.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tI was like this... With my hands here and...\n", "\t\t\t\tI said, \"We'll never make it!\" That's all!\n", "\n", "\tNothing happens.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIs that all?\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tYeah... then I sighed... like this.\n", "\n", "\tLoc Rhod sighs, really depressed this time. The Stone opens even more.\n", "\tKorben's got it.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tThe wind! The wind blows...\n", "\n", "\tKorben blows on the Stone which immediately opens revealing a patch of\n", "blue sky with some miniature clouds floating around inside. A yellow beam\n", "pops up like a ray of sunlight, like Korben's smile.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tQuickly, everyone on a Stone!\n", "\t\t\t\tWater for water! Fire for fire!\n", "\t\t\t\tEarth for earth!\n", "\n", "\tThe two men move fast. Korben on the 4th Stone: Earth. He grabs a\n", "fistful of earth and throws it on the Stone. A miniature patch of green\n", "appears and immediately forms a green beam. Cornelius wipes his forehead\n", "with a scarf and wrings it out over the Stone. It opens revealing a patch of\n", "miniature raging sea. A blue beam appears.\n", "\n", "\tLoc Rhod has a problem.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\t\t(shaking)\n", "\t\t\t\tI don't have a light. I stopped smoking\n", "\t\t\t\tlast week! If we'd come a bit sooner...\n", "\n", "\tKorben pats his pockets, he comes up with a box of matches. There's only\n", "one left.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tDon't breathe.\n", "\n", "\tLoc Rhod and Cornelius hold their breath. Korben strikes the match. A\n", "small flame appears on the tip. A breeze goes through the room. Korben\n", "feels like he's got TNT in his hands. He approaches the flame to the Stone.\n", "The flame twists, dims, flickers ...but holds on. The Stone opens. A patch\n", "of miniature fire appears. Korben sighs, snuffs out the match. The fourth\n", "beam, a red one, immediately forms.\n", "\n", "270\tEXT. SPACE\n", "\n", "\tA mass of fire fills the screen. The Earth is only a thousand miles\n", "away.\n", "\n", "271\tINT. PRESIDENT'S OFFICE\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\t\tTwo more minutes.\n", "\n", "\tThe President shuts his eyes. His lids move in prayer.\n", "\n", "272\tINT. CHAPEL\n", "\n", "\tKorben helps Leeloo onto her feet where the four beams and four colors\n", "crisscross.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tIt's up to you now, Angel!\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tI'm so tired...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou can sleep tomorrow... come on...\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tI want to sleep... forever...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLeeloo! Listen to me! I'll take you on\n", "\t\t\t\ta vacation afterwards! A real vacation,\n", "\t\t\t\tthis time, for as long as you want.\n", "\t\t\t\tCome on! You can do it!\n", "\n", "\tKorben slowly releases Leeloo and steps back from the altar.\n", "\tLeeloo can barely stand in the center of the four beams.\n", "\tAn indistinct white beam begins to form around her, starts to rise.\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\tCome on Leeloo! Come on!\n", "\n", "\tThe beam loses its intensity. Leeloo crumples to the floor.\n", "\n", "273\tEXT. SPACE\n", "\n", "\tThe Dark Planet hurtles toward Earth. A hundred miles before impact.\n", "The African continent is visible. No doubt about it:\tThe fireball is\n", "heading right for Egypt.\n", "\n", "274\tINT. PRESIDENT'S OFFICE\n", "\n", "\tSeconds tick away relentlessly on the scientist's stopwatch.\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\tIt'll be entering the atmosphere in one\n", "\t\t\t\tminute.\n", "\n", "275\tINT. CHAPEL\n", "\n", "\tThe heat in the temple is unbearable. All the walls start to ooze the\n", "same horrible black slimy liquid seen at Zorg's. A drop of liquid falls to\n", "the temple floor and begins to smoke, eating away at it like acid. Loc\n", "Rhod has to dodge another drop of the stuff. Korben quickly straightens\n", "Leeloo up and puts her back in the center of the beams.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tLeeloo! If you don't get on with the\n", "\t\t\t\tprogram we're all gonna die! And that's\n", "\t\t\t\tnot on my agenda for today.\n", "\n", "\tLeeloo wraps her arms around Korben's neck.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t\t(weak)\n", "\t\t\t\tWhat's the use of saving lives...\n", "\t\t\t\twhen you see what you do with them!\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYou're right but there are lots of good\n", "\t\t\t\tthings... beautiful things...\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\t...Like love...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tExactly.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tBut I don't know love... I'm like a machine\n", "\t\t\t\tprogrammed to save other people's lives but\n", "\t\t\t\tnever to have one of my own.\n", "\n", "276\tINT. PRESIDENT'S OFFICE\n", "\n", "\tThe Scientist's stopwatch goes from 30 to 29 seconds.\n", "\n", "277\tINT. CHAPEL\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tI have thousands of memories but none\n", "\t\t\t\tof them are mine... There is no need for\n", "\t\t\t\tme other than this. I'm immortal but I have\n", "\t\t\t\tno life.\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tYes, you do! I need you. More than you\n", "\t\t\t\tcan imagine! Stand up straight!\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tWhy?... Why would you need me?\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tBecause...\n", "\n", "\t\t\t\t\t\tCORNELIUS\n", "\t\t\t\t\t(to himself)\n", "\t\t\t\tTell her, for God's sake!\n", "\n", "\tA bit of the black acid falls on Loc Rhod's shirt setting it on fire. He\n", "rips if off.\n", "\n", "\tCUT TO:\n", "\n", "278\tINT. CHAPEL\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tBecause...\n", "\n", "\tLeeloo has tears in her eyes. The heat is overpowering. Black acid is\n", "everywhere.\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tTell me...\n", "\n", "\t\t\t\t\t\tKORBEN\n", "\t\t\t\tI love you...\n", "\n", "\tDespite her fatigue, Leeloo smiles broadly.\n", "\n", "\tCUT TO:\n", "\n", "278b\tINT. PRESIDENT'S OFFICE\n", "\n", "\tThe stopwatch goes from 3 to 2.\n", "\n", "279 INT. CHAPEL\n", "\n", "\t\t\t\t\t\tLEELOO\n", "\t\t\t\tNow you're allowed to kiss me.\n", "\n", "\t- Korben wraps his arms around her and kisses her like he's never kissed\n", "anybody before. - The white beam, the Divine Light, immediately forms\n", "around Leeloo and Korben. - The stopwatch hits zero. - The Absolute Beam\n", "explodes from the top of the pyramid and heads straight into the sky zapping\n", "the fireball smack in the middle, slowing it down. - Korben and Leeloo kiss\n", "like there was no tomorrow.\n", "\n", "\t- The beam hardens and slowly solidifies the Evil Planet. Inaudible\n", "screeches escape from the dying planet. Screeches of terrifying pain as if a\n", "million souls were dying.\n", "\n", "\t- Streams of black acid spurt from the pyramid and solidify like\n", "brilliant stalactites.\n", "\n", "280\tEXT. SPACE\n", "\n", "\tThe pure beam, the Light of Life, has finished its work. The Dark Planet\n", "nothing more than a dead planet.\n", "\tStrangely enough, it looks like the moon. Everything is calm around it.\n", "\n", "281\tINT. PRESIDENT'S OFFICE\n", "\n", "\tPresident Lindberg opens his eyes and realizes he's not dead-\n", "\n", "\t\t\t\t\t\tSCIENTIST\n", "\t\t\t\tThe planet seems to have stopped at...\n", "\t\t\t\t62 miles from impact.\n", "\n", "282\tINT. CHAPEL\n", "\n", "\tIn the temple, the beam loses its intensity. But Leeloo and Korben\n", "remain stuck together, lost in their kiss. Cornelius has dropped to his\n", "knees, clutching his hands.\n", "\n", "\tLoc Rhod slips along the wall with a sigh. He gives Cornelius a knowing\n", "smile.\n", "\n", "\t\t\t\t\t\tLOC RHOD\n", "\t\t\t\tThis guy is a killer with the babes.\n", "\t\t\t\tI knew it from the moment I laid eyes\n", "\t\t\t\ton him.\n", "\n", "\tCornelius and Loc Rhod burst out laughing. Korben and Leeloo keep on\n", "kissing.\n", "\n", "283\tINT. LABORATORY\n", "\n", "\tWe are in the Nucleological Laboratory that gave birth to Leeloo in the\n", "beginning of our story. The President enters the lab followed by a group\n", "of officials in ceremonial dress.\n", "\n", "\t\t\t\t\t\tMUNRO\n", "\t\t\t\tMr. President, let me introduce you to\n", "\t\t\t\tProfessor Mactilburgh, who runs the center.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tIt's an honor to receive you. Mr. President.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\t\t(beaming)\n", "\t\t\t\tYes.. Well? Where are our two heroes?\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tThey were so tired from their ordeal that\n", "\t\t\t\twe put them in the reactor this morning..\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tI have 19 more meetings after this one\n", "\t\t\t\tProfessor..\n", "\n", "\t\t\t\t\t\tPROFESSOR\n", "\t\t\t\tOf course.. Let me see if they're revived.\n", "\n", "\t\t\t\t\t\tAIDE\n", "\t\t\t\tWe go live in one minute, Mr. President.\n", "\n", "\tMactilburgh goes to the reactor and opens a small slot which allows him\n", "to see what is going on under the blue shield.\n", "\n", "\tLeeloo and Korben are naked, arms wrapped around each other, kissing and\n", "probably engaged in hoppi hoppa.\n", "\tMactilburgh looks troubled.\n", "\n", "\t\t\t\t\t\tMACTILBURGH\n", "\t\t\t\tI.. uh.. they need five more minutes,\n", "\t\t\t\tMr. President.\n", "\n", "\tThe President, pressed for time, looks over to his aide who in struggling\n", "with a phone call.\n", "\n", "\t\t\t\t\t\tAIDE\n", "\t\t\t\tNo ma'am... I tried... No ma'am...\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tWho is it?\n", "\n", "\t\t\t\t\t\tAIDE\n", "\t\t\t\tSome woman... claims she's Korben's\n", "\t\t\t\tmother...\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tGive it here...\n", "\n", "\tThe President takes the phone and goes to the window.\n", "\n", "\t\t\t\t\t\tPRESIDENT\n", "\t\t\t\tMrs. Dallas, this in the President.\n", "\t\t\t\tOn behalf of the entire Federation,\n", "\t\t\t\tI would like to thank...\n", "\n", "\t\t\t\t\t\tMOTHER (V.O.)\n", "\t\t\t\tDon't pull that crap with me, Finger...\n", "\t\t\t\tI'd recognize that trash can voice of\n", "\t\t\t\tyours in a dark alley during a rain storm.\n", "\t\t\t\tYou tell that worthless no account son\n", "\t\t\t\tof mine he should plotz for the way he's\n", "\t\t\t\tignored his mother... when I think of all I\n", "\t\t\t\tsacrificed for him...\n", "\n", "284\tEXT. NEW YORK\n", "\n", "\tOutside the lab we see the President through the window, holding the\n", "phone away from his ear.\n", "\n", "\tPAN slowly across Manhattan.\n", "\tCredits Roll as TWO full rising silver moons ascend in the dark blue sky.\n", "\n", "THE END\n", "\n", "\n", "\n", "\n", "
\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " eight millimeter\n", "\n", "\n", " written by\n", " Andrew Kevin Walker\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " 5/06/97\n", " first\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " INT. MIAMI AIRPORT, TERMINAL -- DAY\n", "\n", " Amongst the weary tourist families and solitary businessmen\n", " sits TOM WELLES, middle-aged, hair neat, suit crisp and\n", " gray. He's eating crackers from a cellophane package,\n", " sipping soda from a paper cup, watching an ARRIVAL GATE.\n", "\n", " AT THE GATE\n", "\n", " PASSENGERS arrive: the paunchy, graying men of First Class\n", " leading the pack, except for a handsome YOUNG REPUBLICAN\n", " poster boy hurrying along.\n", "\n", " ACROSS THE TERMINAL\n", "\n", " Welles gets up and FOLLOWS...\n", "\n", " EXT. MIAMI AIRPORT, CURBSIDE -- DAY\n", "\n", " Welles comes outside, squinting in the sun, moving down the\n", " sidewalk, looking back over his shoulder...\n", "\n", " The Young Republican is lead to a waiting LIMO by a DRIVER.\n", "\n", " Welles moves to the nearby TAXI STAND...\n", "\n", " INT. TAXI -- DAY\n", "\n", " Welles gets in, turning in his seat to watch behind.\n", "\n", " CAB DRIVER\n", " Where to?\n", "\n", " Welles keeps watching, sees the limo pull away and pass.\n", "\n", " WELLES\n", " Follow that limousine. Don't get\n", " too close, don't let it get too far\n", " away. Just keep with it.\n", "\n", " CAB DRIVER\n", " You kidding?\n", "\n", " WELLES\n", " Nope.\n", "\n", " The cab set in motion. Welles takes out cigarettes,\n", " lighting one, takes out a small NOTEPAD and makes notations.\n", "\n", " CAB DRIVER\n", " Uh, listen... you're not supposed to\n", " be smoking in here. I'm sorry,\n", " that's company policy...\n", "\n", " WELLES\n", " How about this... every cigarette I\n", " smoke, I give you five dollars?\n", "\n", " CAB DRIVER\n", " Okay... okay, yeah, that'd be good...\n", "\n", "\n", " EXT. MIAMI BEACH, \"GOLD COAST\" -- DAY\n", "\n", " In front of an Art Deco hotel, the driver opens the\n", " limousine door and the Young Republican steps out. \n", "\n", " ACROSS THE STREET \n", "\n", " Welles watches from inside the double-parked taxicab. \n", "\n", "\n", " EXT. MIAMI BEACH MOTOR LODGE -- DAY \n", "\n", " Not exactly four-star. \"AD LT MOVIES EVERY ROOM.\" \n", "\n", " INT. MIAMI BEACH MOTOR LODGE -- DAY\n", "\n", " Welles is asleep on the bed, full dressed, hands folded\n", " across his stomach, snoring lightly, sweaty. \n", "\n", " INT. MIAMI BEACH MOTOR LODGE, RESTAURANT -- DAY \n", "\n", " Welles sits alone at the bar, eating a sandwich, bored. He\n", " watches some fuzzy ESPN on the t.v., looks at his watch. \n", "\n", " EXT. MIAMI BEACH MOTOR LODGE -- DAY \n", "\n", " Welles walks across the parking lot, gets into his RENTAL\n", " CAR, starts it and drives away. \n", "\n", "\n", " EXT. MIAMI BEACH DISCOTHEQUE -- NIGHT \n", "\n", " Young Republican and a GAUDY WOMAN exit the disco, MUSIC\n", " THROBBING out from the doors behind them. They join hands,\n", " drunk, heading to the street, looking for their limo. \n", "\n", " DOWN THE STREET\n", "\n", " Welles is seated in his parked rental car, raises a CAMERA\n", " with TELEPHOTO LENS: whir, CLICK, whir, CLICK, whir, CLICK...\n", " Welles lowers the camera, letting out a yawn. \n", "\n", "\n", " INT. AIRPLANE, COACH -- NIGHT \n", "\n", " The familiar DRONE of flight. Welles is shoehorned into his\n", " aisle seat, using tiny utensils to eat his tiny meal.\n", "\n", " An OLDER WOMAN arrives in the aisle. Welles picks up his\n", " tray, closes his tray table, unbuckling his seatbelt,\n", " struggling to get up... finally successful, balancing his\n", " tray, letting the woman in to the window seat. \n", "\n", " OLDER WOMAN \n", " Thank you. \n", "\n", " Welles nods, forcing a smile, sitting back down. He returns\n", " to toiling over his miniature supper. \n", "\n", "\n", " EXT. HARRISBURG INTERNATIONAL AIRPORT -- NIGHT \n", "\n", " Welles' AIRPLANE ROARS down with a SCREECH, landing lights\n", " gleaming. The airport is small, relatively isolated.\n", "\n", " TITLE: Harrisburg, Pennsylvania\n", "\n", " INT. HARRISBURG INTERNATIONAL AIRPORT -- NIGHT\n", "\n", " Passengers arrive. Welles is with them, searching the few\n", " PEOPLE waiting in the terminal hallway. Welles smiles...\n", "\n", " Welles' wife, AMY, smiles when she sees him. She's plain\n", " and pretty, holding one hand on a BABY STROLLER beside her.\n", " Welles comes to her, embracing her, appreciating her.\n", "\n", " AMY\n", " Welcome home.\n", "\n", " WELLES\n", " Do you know how much I missed you?\n", "\n", " They kiss, but Amy pulls away, sniffs him.\n", "\n", " AMY \n", " What's this... have you been\n", " smoking... ? \n", "\n", " WELLES \n", " Smoking? I'm not smoking. \n", "\n", " AMY \n", " Your clothing reeks of it. \n", "\n", " WELLES \n", " You know, Amy, I've been sitting\n", " around in bars and everywhere\n", " following this guy... I mean, is\n", " this what I get first thing? Before\n", " you even \"hello,\" you accuse me... ?\n", "\n", " AMY \n", " I'm not accusing you... \n", "\n", " WELLES \n", " Well, I'm not smoking, okay? \n", "\n", " AMY \n", " Okay, I believe you. \n", "\n", " WELLES \n", " We've been all through that. I've\n", " been on my best behavior.\n", "\n", " Welles bends to the stroller, picks up his infant daughter,\n", " CINDY, and hoists her in the air, overjoyed. \n", "\n", " WELLES \n", " Hello, pumpkin-head, did you miss\n", " me? I sure missed you... \n", "\n", " He kisses the happy child, holding her in one arm. \n", "\n", " WELLES \n", " Let's get my bags and get the hell\n", " out of here. \n", "\n", " Welles pulls Amy close and kisses her again, leads the way.\n", " Amy follows, pushing the stroller. \n", "\n", " AMY \n", " How's the detective business?\n", "\n", " WELLES \n", " Business was fine. I'll tell you\n", " what, you couldn't pay me enough to\n", " live down there. \n", "\n", " AMY \n", " You better not be smoking, that's\n", " all I can say. \n", "\n", " WELLES \n", " Honey, I'm not, please... \n", "\n", " Amy takes Welles hand, smiling at him. \n", "\n", "\n", " INT. WELLES' HOUSE, BEDROOM -- NIGHT\n", "\n", " Welles and Amy make love in the darkness. Standard,\n", " missionary position sex, little passion. They slow to a\n", " finish, uneventfully, holding each other. Their breathing\n", " quiets. Their daughter CINDY can be HEARD CRYING elsewhere.\n", "\n", " Welles kisses his wife again, rolls off of her and sits on\n", " the edge of the bed. Amy covers herself. \n", "\n", " AMY\n", " I love you.\n", "\n", " WELLES\n", " I love you. \n", "\n", " He looks towards her in the dark. He gets up, gets a towel\n", " from the bathroom and wraps it around him. \n", "\n", " INT. WELLES' HOUSE, BABY'S ROOM -- NIGHT \n", "\n", " Cindy's crying. Welles enters, goes to lean into the crib.\n", "\n", " WELLES \n", " What's all the trouble, Cinderella?\n", " What are you crying about, huh? \n", "\n", " He lifts and cradles Cindy, comforting her. \n", "\n", "\n", " EXT. HARRISBURG CITYSCAPE -- ESTABLISHING --DAY \n", "\n", " A small city of moderate architecture facing the Susquehanna.\n", "\n", " INT. OFFICE -- DAY \n", "\n", " An old money office with windows over the river. A well-to-\n", " do POLITICIAN looks unhappily through PHOTOS on his desk.\n", " Welles sits by the Pennsylvania state flag, watching.\n", "\n", " PHOTOS show the Young Republican and Gaudy Woman in Miami:\n", " leaving the Art Deco hotel, the Discotheque, a restaurant...\n", "\n", " WELLES \n", " Your son-in-law dealt with the dry\n", " cleaning franchise during the day,\n", " saw that woman every night. \n", " (clears his throat) \n", " The specifics are in the report, and\n", " information about the woman. It's\n", " unpleasant, I know. I apologize... \n", "\n", " POLITICIAN \n", " None too discreet, is he? \n", "\n", " WELLES \n", " No, sir, he is not. \n", "\n", " POLITICIAN \n", " He's an imbecile. I tried to warn\n", " my daughter, but what can you do? \n", "\n", " The politician shakes his head in disgust. Welles rises. \n", "\n", " WELLES \n", " The um... you'll find my invoice in\n", " the envelope. If that's all...\n", "\n", " POLITICIAN \n", " Yes, Mister Welles, thank you. \n", "\n", " WELLES \n", " Certainly, Senator. If I can ever\n", " be of further assistance.\n", "\n", " Welles leaves, glances back, shuts the door. \n", "\n", " EXT. HARRISBURG STREETS -- DAY \n", "\n", " Welles drives his plain Ford past the CAPITAL BUILDING. \n", "\n", " EXT. HARRISBURG, BRIDGE -- DAY \n", "\n", " Welles' car crosses the Susquehanna, leaving the city. \n", "\n", " EXT. WELLES' HOUSE, BACKYARD -- DAY \n", "\n", " Sunny day. Welles wears tan khakis, T-shirt and fishing\n", " cap, mowing his lawn with his ROARING lawnmower. Welles'\n", " yard is modest, surrounding his modest split level suburban\n", " one in a neighborhood of similar homes and similar yards.\n", "\n", " Welles turns the lawnmower, stopping to mop his brow. One\n", " of his neighbors is repainting a back porch. The neighbor\n", " waves. Welles waves, resumes mowing. \n", "\n", "\n", " INT. BOWLING ALLEY -- NIGHT\n", "\n", " MUSIC'S LOUD. League Night. Every lane full. Welles is\n", " with his team in BOWLING SHIRTS. Welles hoists his ball,\n", " preparing to bowl. He takes three steps, releases...\n", "\n", " Down the lane, PINS SCATTER. One pin remains standing.\n", "\n", " Welles balls up his fists and curses, walks back towards his\n", " rowdy, mocking teammates. He shouts back at them, laughing,\n", " grabbing his beer and drinking, waiting at the ball return. \n", "\n", " INT. WELLES' HOUSE, KITCHEN -- NIGHT \n", "\n", " Dinner. Welles and Amy eat at the kitchen table with Cindy\n", " in a high chair. Amy feeds Cindy between bites. Welles is\n", " still in his league shirt. \n", "\n", " AMY \n", " You think you'll have time for the\n", " water heater this weekend?\n", "\n", " WELLES \n", " Sure. I'll call the guy. \n", "\n", " AMY \n", " You're not using the same guy who\n", " tried to fix it? \n", "\n", " WELLES \n", " I'm not using him again for\n", " anything. He was worthless. \n", " (eating)\n", " You have bridge here Saturday? \n", "\n", " AMY \n", " Betty's out of town so we're playing\n", " next week. \n", "\n", " Welles nods, eating. He watches Amy feed Cindy. The PHONE\n", " starts RINGING. Welles goes to answer it. \n", "\n", " WELLES \n", " (into PHONE) \n", " Hello. Yes... could you hold on a\n", " minute...?\n", "\n", " Welles hands the phone to Amy, pats Cindy's head as he heads\n", " downstairs, through the LIVING ROOM... \n", "\n", " INT. WELLES' HOUSE, OFFICE -- NIGHT\n", "\n", " Welles enters his well kept OFFICE, turns on a light at the\n", " desk. The room is filled with FILE CABINETS and shelves of\n", " BOOKS, hundreds of PHONE BOOKS and a COPY MACHINE. Welles\n", " picks up the phone and cups the receiver. \n", "\n", " WELLES \n", " (shouts upstairs)\n", " Okay, I've got it.\n", " (into phone)\n", " Hello... sorry, I was switching\n", " phones. It's a pleasure to make\n", " your acquaintance, Mrs. Christian.\n", " (listens)\n", " Yes. Yes, I understand... tomorrow\n", " evening should be fine...\n", "\n", " Welles listens, clears space on his desk, taking notes. \n", "\n", "\n", " EXT. CHRISTIAN COMPOUND -- DUSK \n", "\n", " A huge OLD WORLD MANSION is situated at the center of acres\n", " of Pennsylvania forest and vast gardens. Welles' car heads\n", " down a long tree lined drive, to the dark mansion. \n", "\n", " INT. CHRISTIAN HOUSE, HALLWAY -- NIGHT \n", "\n", " Welles follows a BUTLER down a long hall. \n", "\n", " INT. CHRISTIAN HOUSE, LIBRARY -- NIGHT \n", "\n", " The butler shows Welles in, shuts the door.\n", " Towering SHELVES of BOOKS are serviced by ladders. Far\n", " across the room, an old, sad woman, MRS. CHRISTIAN, sits\n", " waiting with a tall, thin, sinister ghoul of a LAWYER.\n", "\n", " MRS CHRISTIAN \n", " Mister Welles. You're very prompt. \n", "\n", " WELLES \n", " I try to be.\n", "\n", " Welles crosses towards them. It takes a while. \n", "\n", " MRS CHRISTIAN \n", " I appreciate your coming on such\n", " short notice. \n", "\n", " Mrs. Christian holds out her hand and Welles takes it. \n", "\n", " MRS CHRISTIAN\n", " This is Mister Longdale, my late\n", " husband's attorney. \n", "\n", " Welles shakes Longdale's limp hand, looking him over. \n", "\n", " WELLES \n", " Uh huh, pleasure. \n", "\n", " MRS CHRISTIAN \n", " Apparently Mr. Longdale has\n", " something he feels he simply must\n", " say before you and I speak.\n", "\n", " LONGDALE \n", " Yes, I do have something to say. I\n", " insisted on being here as soon as I\n", " heard Mrs. Christian contacted you. \n", "\n", " WELLES \n", " I'm listening. \n", "\n", " LONGDALE \n", " As Mr. Christian's attorney and one\n", " of the executors of his estate, it\n", " concerns me that a meeting of this\n", " sort should take place without my\n", " being asked to attend. \n", "\n", " WELLES\n", " Of what sort? \n", "\n", " LONGDALE\n", " You are a private investigator? \n", "\n", " WELLES \n", " That's right. \n", "\n", " LONGDALE \n", " Well, whatever reasons Mrs.\n", " Christian has for engaging the\n", " services of a private investigator,\n", " I should certainly be a party to.\n", " But, since she feels differently, I\n", " can only go on the record as having\n", " expressed my adamant disapproval. \n", "\n", " MRS CHRISTIAN \n", " Yes, how theatrical. So you've gone\n", " on the record, and now perhaps you\n", " should just be gone. \n", "\n", " Longdale's irritated, but has no choice. He walks away. \n", "\n", " MRS CHRISTIAN \n", " Have a pleasant evening. \n", " (to Welles) \n", " Will you have tea, Mister Welles? \n", "\n", " WELLES\n", " Thank you. \n", "\n", " Mrs. Christian begins pouring tea from the service on a\n", " table. Welles watches Longdale exit. \n", "\n", " WELLES \n", " He's odd.\n", "\n", " MRS CHRISTIAN \n", " He's a lawyer.\n", " (offers tea)\n", " Please, sit, here...\n", "\n", " Welles accepts a dainty tea cup and saucer, taking a seat.\n", "\n", " MRS CHRISTIAN \n", " I've spoken to friends of mine and\n", " my husband's, in Harrisburg, in\n", " Lancaster and Hershey. Asking about\n", " you. I must say you have friends in\n", " influential places. \n", "\n", " WELLES\n", " I've been privileged to provide\n", " services for people I admire.\n", "\n", " MRS CHRISTIAN \n", " You are highly recommended. Praised\n", " for your discretion... your strict\n", " adherence to confidentiality. \n", "\n", " Welles nods, sipping tea. \n", "\n", " MRS CHRISTIAN \n", " As you know, my husband passed away\n", " recently. Two weeks ago now.\n", "\n", " WELLES \n", " My condolences. \n", "\n", " MRS CHRISTIAN \n", " His passing has left me with...\n", " something of a dilemma. A terrible,\n", " terrible dilemma. \n", "\n", " WELLES \n", " I'll do whatever I can to help. \n", "\n", " Mrs. Christian studies Welles.\n", "\n", " INT. CHRISTIAN HOUSE, MR CHRISTIAN'S OFFICE -- NIGHT\n", "\n", " Mrs. Christian and Welles enter. This office has been lived\n", " in for a lifetime. Giant DESK. AMERICAN FLAG. Walls\n", " covered in old b+w PHOTOGRAPHS and ACHIEVEMENTS. A large,\n", " baked enamel sign nailed up, \"CHRISTIAN STEEL.\" \n", "\n", " MRS CHRISTIAN \n", " His inner sanctum. \n", "\n", " Welles looks up at the OIL PAINTING over the fireplace: MR.\n", " CHRISTIAN, a powerful, old man, posed with a dark, teeming,\n", " industrial landscape behind him. \n", "\n", " MRS CHRISTIAN \n", " Not many people have been inside\n", " this room. \n", "\n", " Welles examines PHOTOS of Mr. Christian visiting various\n", " STEEL PLANTS, COAL MINES and ground-breaking ceremonies,\n", " shaking hands with WORKMEN, with POLITICIANS. \n", "\n", "\n", " WELLES \n", " Pittsburgh? \n", "\n", " MRS CHRISTIAN \n", " Mostly. That's where he started his\n", " empire building.\n", " (looks up at portrait)\n", " He was a good man. Notorious as an\n", " eccentric, but that was something he\n", " cultivated. He wanted to be\n", " legendary.\n", "\n", " WELLES \n", " He succeeded. \n", "\n", " MRS CHRISTIAN \n", " We were married forty-five years.\n", " Hard even for me to imagine. We had\n", " our troubles. There were plenty of\n", " places for him to be other than\n", " here, but he was always loyal to me,\n", " and I to him. I loved him deeply.\n", "\n", " Welles waits. \n", "\n", " MRS CHRISTIAN \n", " Do you carry a gun, Mr. Welles? \n", "\n", " WELLES \n", " I wear a gun when I can tell a\n", " client expects me to. Other than\n", " that, there's never any reason. \n", "\n", " MRS CHRISTIAN \n", " Just curious. \n", "\n", " Mrs. Christian crosses to take down a PICTURE, revealing a\n", " WALL SAFE. The safe is ajar, burnt and scarred, broken into.\n", "\n", " MRS CHRISTIAN \n", " My husband was the only one with the\n", " combination to this safe. I knew\n", " about it, but as far as I was\n", " concerned it was none of my\n", " business. Not till now, that is. \n", "\n", " WELLES \n", " You hired someone to open it. I'll\n", " bet the lawyer loved that.\n", "\n", " MRS CHRISTIAN \n", " There was nothing he could do. My\n", " husband left everything to me.\n", " (looks at safe)\n", " I prevented anyone from seeing the\n", " contents. I felt these were my\n", " husband's private things. I\n", " didn't... I didn't realize... \n", "\n", " WELLES \n", " Do you want to tell me what you\n", " found? \n", "\n", " MRS CHRISTIAN \n", " Cash, stock certificates, and this...\n", "\n", " She takes something from her pocket, puts it on the desk: a\n", " plastic bag containing a short 8MM FILM on a plastic reel.\n", "\n", " MRS CHRISTIAN \n", " It's a film... of a girl being\n", " murdered. \n", "\n", " WELLES \n", " I'm afraid I don't... \n", "\n", " MRS CHRISTIAN \n", " This is a movie showing a girl being\n", " murdered. She's sitting on a bed,\n", " and a man rapes her... and he begins\n", " to cut her with a knife...\n", " (pause)\n", " I only watched what I could.\n", "\n", " Welles picks up the film, looks at it. \n", "\n", " MRS CHRISTIAN \n", " I didn't know what to think. I\n", " can't tell you how horrible it's\n", " been, to know this belonged to my\n", " husband. To know that he watched\n", " this... this atrocity. But, I can't\n", " go to the police...\n", "\n", " WELLES\n", " Mrs. Christian... please, will you\n", " sit down a moment? \n", " (leads her to a chair) \n", " I want you to listen carefully.\n", " What you're talking about is a\n", " \"snuff film.\" But, from what I\n", " know, snuff films are a kind of...\n", " urban myth. Like, red light\n", " district folklore. There's no such\n", " thing, I can assure you. \n", "\n", " Mrs. Christian shakes her head. \n", "\n", " WELLES \n", " Please, believe me. This is\n", " probably a stag film. Simulated\n", " rape. Hard to stomach, and it might\n", " seem real, but there are ways of\n", " making it look realistic... fake\n", " blood and special effects...\n", "\n", " MRS CHRISTIAN \n", " No. \n", "\n", " WELLES \n", " If you were to study it you'd see\n", " the camera cutting away... you'd see\n", " the tricks they can play...\n", "\n", " MRS CHRISTIAN \n", " I'm telling you it's not that. \n", "\n", " WELLES \n", " I'm sure it is. \n", " (smiles) \n", " It's probably something your husband\n", " was given as a bad joke. More than\n", " likely he never even watched it. \n", "\n", " MRS CHRISTIAN \n", " Will you watch it and see for\n", " yourself? \n", "\n", " WELLES \n", " Of course. But, I'm certain it's\n", " nothing to worry about. \n", "\n", "\n", " INT. CHRISTIAN HOUSE, DINING ROOM -- NIGHT \n", "\n", " An 8MM PROJECTOR faces a wall. Welles looks back to Mrs.\n", " Christian in the doorway. Mrs. Christian leaves, shuts the\n", " door. Darkness. Welles turns on the projector and sits.\n", " The PROJECTOR CLATTERS, shooting bright images...\n", "\n", " ON THE WALL: FLASH FRAMES, over exposure, then... the grainy\n", " FILM is HAND HELD, constantly in motion, showing a skinny\n", " GIRL, 16 or 17, in a negligee, sitting on a bed in a\n", " nondescript room with little furniture. Looks like a hotel\n", " room. We only ever see three walls. The once beautiful\n", " girl looks worn, drugged, dark circles under her eyes,\n", " staring blankly. The CAMERA'S tungsten SPOTLIGHT casts\n", " long, shifting shadows as the camera moves, but the girl\n", " still stares oblivious. The bed is wrapped in PLASTIC and\n", " DUCT TAPE. The floor is covered by PLASTIC SHEETING...\n", "\n", " Welles watches, crossing his arms, already uncomfortable.\n", "\n", " ON THE WALL: a door opens behind the girl, looks like a\n", " bathroom, and a MASKED MAN enters.\n", "\n", " The Masked Man wears a garish, Mexican WRESTLING MASK with\n", " eye holes and a mouth. The mask covers his entire head.\n", " He's naked except for red shorts, his body scrawny, oiled,\n", " pale. The man goes to stand in front of the girl. He seems\n", " to be saying something to her, but the film is silent and\n", " the ONLY SOUND is the PROJECTOR'S LOUD sprocket hole\n", " CLATTER. It's all one long take. The CAMERA MOVES to favor\n", " the girl...\n", "\n", " Welles sits straight in his chair, wary.\n", "\n", " ON THE WALL: Masked Man raises his open hand and SLAPS the\n", " girl, knocking her back on the bed...\n", "\n", " Welles grimaces.\n", "\n", " ON THE WALL: Masked Man pulls the girl back to a seated\n", " position. The girl's like a rag doll, face reddened, eyes\n", " closed, but she remains upright. Masked Man uses his thumbs\n", " to open her unseeing eyes. He touches her mouth with his\n", " fingers, presses his lips to hers. Then, Masked Man backs\n", " away, leaving frame, till the CAMERA MOVES to find Masked\n", " Man standing at a table with THREE large BOWIE KNIFES laid\n", " out. Masked Man runs his fingers over the blades...\n", "\n", " Welles rises slowly, still watching.\n", "\n", " ON THE WALL: Masked Man selects a huge Bowie knife and moves\n", " back towards the girl...\n", "\n", " Welles crosses his arms tight, disbelieving, fearful.\n", " WE WILL NEVER SEE WHAT HAPPENS NEXT IN THE FILM, but Welles\n", " does. In the flickering, reflected light, Welles backs\n", " involuntarily away from the horrible images, holding his\n", " fist to his mouth, breathing hard.\n", "\n", " Welles keeps backing away, till he's backed against a wall.\n", " The PROJECTOR'S CLATTERING. Welles is sickened, sweating,\n", " still watching, till he finally shuts his eyes.\n", "\n", " INT. CHRISTIAN HOUSE, ADJOINING ROOM -- NIGHT\n", "\n", " Silence. Mrs. Christian sits waiting, troubled.\n", " The door to the dining room opens and Welles enters from the\n", " dark, visibly shaken. Mrs. Christian watches him, her\n", " sorrow now shared.\n", "\n", " WELLES\n", " You... you need to go to the police. \n", "\n", " MRS CHRISTIAN \n", " I told you I can't, not yet. \n", "\n", " WELLES\n", " You don't have any other choice. \n", "\n", " MRS CHRISTIAN \n", " (stands, shakes her head) \n", " No. For me to live with the ruin of\n", " my husband's name, I need know that\n", " whoever did this will be punished.\n", " If you can find them, I will take\n", " their names to the police. I'll say\n", " my husband confessed on his death\n", " bed. I'll say I didn't have courage\n", " to come forward at first...\n", "\n", " WELLES \n", " It won't work like that.\n", "\n", " MRS CHRISTIAN \n", " Any evidence you collect can be\n", " given to the police later,\n", " anonymously. I've thought about it\n", " and there's no other way. If you\n", " can't find them... if the only thing\n", " that comes from this film is that\n", " this is all my husband will be\n", " remembered for, well I can't let\n", " that happen. I'm telling you I\n", " won't. If there's no chance that\n", " poor girl's memory can be served,\n", " then I'll just have to spend my last\n", " days trying to forget her. \n", "\n", " Welles sits, rests his head in his hands. \n", "\n", " WELLES \n", " I deal in divorce cases. Corporate\n", " investigations...\n", "\n", " MRS CHRISTIAN \n", " You've found missing persons before. \n", "\n", " WELLES \n", " Nothing remotely like this. \n", "\n", " MRS CHRISTIAN \n", " I know what I'm asking. Your\n", " compensation will be appropriate to\n", " the risk. You'll need cash to buy\n", " information, and I'll provide it.\n", " (pause)\n", " I feel responsible, Mr. Welles.\n", " (pause)\n", " You saw what he did to her.\n", "\n", " Welles stands, torn apart and uncertain, looks back to the\n", " dining room where the projector sits idle.\n", "\n", "\n", " INT. WELLES' HOUSE, BABY'S ROOM -- NIGHT\n", "\n", " Cindy is sound asleep in her crib.\n", " Welles is seated near, staring at his sleeping child.\n", "\n", " INT. WELLES' HOUSE, BEDROOM -- NIGHT\n", "\n", " Welles digs in piles of SHOEBOXES and BOOKS on the floor of\n", " his cluttered closet, finds what he wants: a LOCK BOX.\n", "\n", " INT. WELLES' HOUSE, KITCHEN -- NIGHT\n", "\n", " Welles twists the lock box dial's combination, opens the box\n", " to reveal his GUN, HOLSTER and CLEANING SUPPLIES. Welles\n", " takes out the gun, cleaning it. Amy watches.\n", "\n", " WELLES \n", " This is the mortgage. This is\n", " Cindy's college money. \n", "\n", " AMY\n", " I understand.\n", "\n", " WELLES \n", " Sometimes you can't know what I'm\n", " doing. It's better that way.\n", "\n", " AMY\n", " I know.\n", "\n", " WELLES \n", " It's a missing persons case... a\n", " long shot. I'll give it two months,\n", " two months at most, then I'll be\n", " back. We'll take a vacation.\n", "\n", " AMY\n", " Why the gun? \n", "\n", " WELLES \n", " I'm not gonna need it. I won't even\n", " wear it. It's a precaution.\n", " (cleaning gun)\n", " Don't worry about me.\n", "\n", "\n", " INT. WELLES' HOUSE, OFFICE -- NIGHT\n", "\n", " Welles looks through one file cabinet. He pulls out a FILE.\n", " It contains all sorts of POLICE ARTIST SKETCHES. Welles\n", " finds one of a TEENAGE GIRL with dark hair, looks at it.\n", "\n", " Welles positions the sketch on his COPY MACHINE, hits copy.\n", "\n", " EXT. WELLES' HOUSE, DRIVEWAY -- MORNING\n", "\n", " Welles loads BOXES and a SUITCASE into his car's back seat.\n", "\n", " Welles puts the lock box in the car's trunk, in a hiding\n", " place beside the spare tire. He places a brown BRIEFCASE on\n", " top, covers them both with carpet. He closes the trunk.\n", "\n", " EXT. PENNSYLVANIA TURNPIKE -- MORNING \n", "\n", " Little traffic. Welles' Ford races down the highway.\n", "\n", "\n", " EXT. CLEVELAND CITYSCAPE -- ESTABLISHING -- DAY\n", "\n", " City skyline, overcast. Looks like rain.\n", "\n", " TITLE: Cleveland, Ohio\n", "\n", " EXT. CLEVELAND STREETS -- DAY\n", "\n", " Welles' car moves slowly in a not-so-great neighborhood.\n", " Welles leans forward, peering through the windshield...\n", "\n", " An APARTMENT BUILDING'S crooked SIGN lists \"WEEKLY RATES.\"\n", "\n", " INT. WELLES' ROOM, CLEVELAND -- DAY\n", "\n", " Dingy room. Welles locks the door, puts the chain on. His\n", " suitcase and boxes are on the bed. He begins unpacking,\n", " taking a PHOTO ENLARGER from one box and an 8MM PROJECTOR.\n", "\n", " INT. WELLES' ROOM, BATHROOM -- DAY\n", "\n", " The developer's on the toilet. DEVELOPING PANS are on the\n", " floor, developer bath, stop bath and fixing bath, with\n", " BOTTLES of CHEMICALS and packages of PHOTO PAPER. Welles\n", " uses tape and ALUMINUM FOIL to black-out a window.\n", "\n", " INT. WELLES' ROOM -- DAY\n", "\n", " Pizza box on the bedside table. Welles' suits hang in the\n", " closet. Welles sits facing a small REEL TO REEL on a desk.\n", " He wears white gloves, handles the 8MM FILM, careful to hold\n", " it by the edges, holding it up to the light, squinting.\n", "\n", " Welles puts in a magnifying EYEPIECE, leaning close...\n", "\n", " WELLES' P.O.V. THROUGH MAGNIFYING LENS: studying the first\n", " few inches of exposed film, coming upon TINY LETTERS printed\n", " just below the sprocket holes: \"SUPRAlux 544.\"\n", " \n", " INT. WELLES' ROOM, BATHROOM -- DAY\n", "\n", " RED BULB in the light socket. Welles threads the 8MM FILM\n", " into his enlarger, still in white gloves.\n", "\n", " He flicks the enlarger on, projecting a sideways IMAGE down\n", " onto the enlarger's baseboard, FOCUSING... it's the girl\n", " sitting on the bed, early in the snuff film.\n", "\n", " Welles makes an adjustment to the enlarger's lens; framing\n", " tighter on the girl's face, REFOCUSING.\n", "\n", " INT. WELLES' ROOM -- NIGHT\n", "\n", " Welles comes out of the makeshift darkroom, holding a PHOTO\n", " of the girl. He props the photo up on a dresser, stands\n", " looking at it. Sad girl, staring forward.\n", "\n", " Welles goes to pick up his CELLULAR PHONE, dials.\n", "\n", " WELLES \n", " (into phone) \n", " Hello, honey, it's me.\n", " (listens)\n", " I'm fine, how are you?\n", "\n", " Welles listens. He turns to look at the girl's photo.\n", "\n", " FADE TO BLACK:\n", "\n", " EXT. OFFICE BUILDING, MISSING PERSONS ARCHIVE -- DAY\n", "\n", " Nondescript. \"U.S. Resource Center for Missing Persons.\"\n", "\n", " INT. MISSING PERSONS ARCHIVE, OFFICES -- DAY \n", "\n", " Small. Cubicles. Employees work phones and computers.\n", " BULLETIN BOARDS are covered in FAMILY PHOTOS, Polaroids and\n", " familiar \"HAVE YOU SEEN ME?\" missing person/children POSTERS.\n", "\n", " IN ONE CUBICLE, Welles opens his billfold, shows his\n", " identification: a laminated \"LICENSED INVESTIGATOR,\n", " Commonwealth of Pennsylvania\", with WELLES' PHOTO...\n", "\n", " The DIRECTOR of the center, a tired looking official in\n", " bifocals, studies the card. Welles sits.\n", "\n", " DIRECTOR \n", " What can I do for you, Mr. Welles?\n", "\n", " WELLES \n", " Call me Tom.\n", "\n", " DIRECTOR \n", " Alright, Tom.\n", "\n", " WELLES\n", " What I'd like, very simply, is\n", " access to your archive. And, now I\n", " understand this isn't something you\n", " normally do for private citizens...\n", "\n", " DIRECTOR \n", " There are reasons for the way we do\n", " things here.\n", "\n", " WELLES \n", " Absolutely. Of course I'll abide by\n", " whatever decision you make, but I'd\n", " appreciate if you'll hear me out... \n", "\n", " The director sits back in his chair.\n", "\n", " WELLES \n", " Few days ago, I was contacted by a\n", " couple living in Philadelphia, a\n", " doctor and his wife. What happened\n", " was they picked up a young girl\n", " hitchhiking off 81, which heads into\n", " Philadelphia, started up a\n", " conversation with this girl, she\n", " looked homeless, seemed about\n", " eighteen maybe. They convinced her\n", " to let them buy her a meal in the\n", " city. Nice kid, mature, didn't have\n", " much to say, but they got a sense\n", " she's a runaway, so all through\n", " dinner the doctor's working on her,\n", " trying to convince her that at the\n", " very least she should pick up a\n", " telephone. Not surprisingly, she\n", " ate her food, excused herself...\n", " (snaps fingers)\n", " That's the last they saw her. The\n", " reason they came to me for help, the\n", " reason I'm coming to you, is we had\n", " a friend of mine in the department\n", " work up a sketch...\n", " (shows the POLICE ARTIST\n", " SKETCH he photocopied)\n", " They want to see if I can I.D. this\n", " girl, somehow pass along a message\n", " to let the parents know the kid's\n", " alive, doing alright.\n", "\n", " DIRECTOR \n", " Why not go to the N.C.I.C. or\n", " N.C.M.E.C.? \n", "\n", " WELLES \n", " I figured you share information. \n", "\n", " DIRECTOR \n", " We do. \n", "\n", " WELLES \n", " For whatever reasons I thought you\n", " might be more receptive.\n", "\n", " DIRECTOR \n", " Why don't they come to me? \n", "\n", " WELLES \n", " This doctor and wife, they're nice\n", " people, but they don't want to get\n", " too involved. They're not trying to\n", " have the parents come looking for\n", " the girl either. \n", " You and I both know sometimes, not\n", " often, but sometimes there's real\n", " reasons why a kid'll run. \n", " Molestation, whatever. Besides\n", " that, the girl's probably eighteen,\n", " so she's legal.\n", "\n", " DIRECTOR \n", " I'm not so sure about this. \n", "\n", " WELLES \n", " They're putting themselves in place\n", " of this kid's parents and thinking\n", " they'd want to hear their girl's\n", " okay, even if that's all they hear. \n", "\n", " DIRECTOR\n", " I can give you my card, if your\n", " clients want to call me... \n", "\n", " Welles accepts a CARD, disappointed.\n", "\n", " WELLES \n", " They were pretty clear they didn't\n", " want this coming back on them.\n", "\n", " DIRECTOR \n", " Well, that's all I can do. Sorry. \n", "\n", " Welles looks at the director, stands, hangs his head.\n", "\n", " WELLES \n", " Who knows... maybe she's already\n", " given her parents a call, right?\n", "\n", " Welles leaves. \n", "\n", " EXT. OFFICE BUILDING, MISSING PERSONS ARCHIVE -- DAY\n", "\n", " Welles comes out the front doors, pissed.\n", "\n", " WELLES \n", " Fuck.\n", "\n", " He tears the card in half and drops it as he heads for his\n", " car. After a moment, the director comes out after him...\n", "\n", " DIRECTOR \n", " Excuse me... Tom, hold on...\n", "\n", " Welles looks back, walks back, glances down...\n", " makes sure he stands on the torn card, hiding it underfoot.\n", "\n", " DIRECTOR\n", " Listen, maybe I can help after all.\n", " Why don't you come on back in...\n", " we'll see what we can do. \n", "\n", " INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY\n", "\n", " Director leads Welles into this RESEARCH ROOM, a small\n", " library with long tables, old COMPUTERS, lots of FILE\n", " CABINETS and CARD CATALOGS. Secretaries tend to the files.\n", "\n", " DIRECTOR \n", " This is it. It's not much. \n", " (points at computers) \n", " We've got less than five percent on\n", " computer and we lose that funding in\n", " December. I'll have someone show it\n", " to you anyway. Other than that, I'm\n", " afraid it's the wet thumb method.\n", "\n", " Welles looks to the many, many file drawers. \n", "\n", " DIRECTOR \n", " Files are mostly by state and year\n", " of disappearance. We try to keep\n", " the children and adults separate.\n", " No eating or smoking in here, but\n", " there's a coffee machine in the hall.\n", "\n", " WELLES \n", " Any good?\n", "\n", " DIRECTOR\n", " It's horrible, but it'll be your\n", " best friend after a few days. I\n", " hope you realize what kind of long\n", " shot you're chasing after. \n", "\n", " WELLES\n", " You're gonna be seeing a lot of me.\n", " You're sure you don't mind?\n", "\n", " DIRECTOR \n", " It's good what you're doing.\n", "\n", " The director puts out his hand. Welles looks, shakes.\n", "\n", "\n", " INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY -- MONTAGE\n", "\n", " ON A COMPUTER SCREEN: files open and close -- PICTURE after\n", " PICTURE of a MISSING CHILDREN, mostly teenagers, each with\n", " physical description, age, date of disappearance, etc. Lost\n", " souls, although these are posed portraits, high school\n", " yearbook photos and vacation photos, so the children are\n", " mostly smiling, happy and healthy. But, all \"MISSING.\"\n", "\n", " Welles works the computer keyboard and mouse...\n", "\n", " ON THE SCREEN: the FACES of TEENAGERS, boys and girls, one\n", " after the other, MISSING... MISSING... MISSING...\n", "\n", "\n", " INT. CLEVELAND PUBLIC LIBRARY -- DAY -- MONTAGE\n", "\n", " Welles searches the SHELVES of the LIBRARY. He begins\n", " taking down various books...\n", "\n", " \"Motion Picture Photography.\" \"Film Stocks and Physical\n", " Characteristics.\" \"Super 8 Filmmaking.\"\n", "\n", " INT. CLEVELAND PUBLIC LIBRARY -- LATER -- MONTAGE\n", "\n", " In Welles' notepad: \"SUPRAlux 544.\"\n", " Welles sits paging through technical photography books. \n", "\n", "\n", " INT. WELLES' ROOM -- NIGHT -- MONTAGE\n", "\n", " Welles has the 8MM FILM threaded through the projector. He\n", " turns the CLATTERING projector on and sits, watching.\n", "\n", " ON THE WALL: FLASH FRAMES, then... the skinny GIRL in a\n", " negligee, sitting on the bed. The CAMERA'S SPOTLIGHT casts\n", " long shadows. The girl stares, oblivious...\n", "\n", " ON THE WALL: a door opens behind the girl, looks like a\n", " bathroom, and the MASKED MAN enters, wearing the ghastly\n", " WRESTLING MASK. The man goes to stand in front of the\n", " girl. He seems to be saying something. The FILM halts.\n", "\n", " Welles sits forward, hand on the projector. He's seen\n", " something. He PLAYS the FILM in REVERSE...\n", "\n", " ON THE WALL: the Masked Man walks backwards, away from the\n", " girl, backwards into the bathroom, door shutting...\n", "\n", " Welles stops the projector, not taking his eyes from the\n", " image. He ADVANCES the film FRAME BY FRAME...\n", "\n", " FRAME BY FRAME... as the bathroom door opens, and the Masked\n", " Man enters... FRAME BY FRAME... as the Masked Man moves\n", " forward... door closing behind him... STOP...\n", "\n", " FREEZE FRAME: a THIRD MAN is reflected in the bathroom\n", " mirror. Grainy and blurred, but he's in the room with the\n", " girl, standing there, captured in the mirror in this one\n", " brief instant just before the bathroom door closes.\n", "\n", " Welles walks to take a closer look, studying the almost\n", " ethereal image of the Third Man.\n", "\n", "\n", " EXT. CLEVELAND STREET CORNER -- DAY -- MONTAGE\n", "\n", " Welles is in a PHONE BOOTH, feeds many quarters into the\n", " phone, waiting, looking at his notepad. \n", "\n", " WELLES\n", " (into PHONE) \n", " Hello, Mrs. Christian? Tom Welles.\n", " Here's where we stand. I checked\n", " the film stock and it's called Supra-\n", " lux 544. The company that made that\n", " stock discontinued it in '92...\n", " (listens)\n", " Yeah, about five or six years ago.\n", " Anyway, do what you can to dig up\n", " your husband's old financial\n", " records, look for anything out of\n", " the ordinary...\n", "\n", " INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY -- MONTAGE\n", "\n", " Welles is back at the computer, alone, drinking coffee.\n", " ON THE COMPUTER: endless PHOTOS of MISSING CHILDREN.\n", " The PHONE CALL CONTINUES in VOICE OVER:\n", "\n", " WELLES (V.O., cont)\n", " Nobody really uses eight millimeter\n", " film anymore, so we can assume there\n", " are reasons our guys did. First,\n", " they could develop it themselves if\n", " they had any sort of expertise.\n", " Obviously, this isn't the kind of\n", " movie you can just drop off at the\n", " one-hour photo...\n", "\n", " INT. WELLES' ROOM -- NIGHT -- MONTAGE\n", "\n", " Welles just stands, staring at the PHOTO of the GIRL.\n", "\n", " WELLES (V.O., cont)\n", " Second, the film that went through\n", " the camera is what we've got.\n", " There's no negative. Unlike video,\n", " it wasn't meant to be duplicated.\n", " No reason for them to risk having\n", " more than one copy of their murder\n", " floating around...\n", "\n", " INT. CLEVELAND BAR -- NIGHT -- MONTAGE\n", "\n", " Local bar. Welles sits drinking with the archive's\n", " director, talking, smiling at something the director said.\n", "\n", " WELLES (V.O., cont)\n", " There don't seen to be many\n", " fingerprints on the film itself, but\n", " I'm going to have to be careful to\n", " leave them intact...\n", "\n", " INT. MISSING PERSON ARCHIVE, FILE ROOM -- DAY -- MONTAGE\n", "\n", " Welles is tired, unshaven. He's moved on to the physical\n", " files, at one table, looking through HUNDREDS of MISSING\n", " PERSON BULLETINS. Secretaries tend to other files. \n", "\n", " WELLES (V.O., cont)\n", " It's okay for yours and your\n", " husbands fingerprints to be on the\n", " film, but you'll have to use me as\n", " a middleman if you go to the police.\n", " That way I don't have to explain why\n", " my prints are on it...\n", "\n", " INT. WELLES' ROOM -- DAY -- MONTAGE\n", "\n", " Welles sits with the PROJECTOR ON, watching the film again.\n", "\n", " WELLES (V.O., cont)\n", " There were three men. Two are\n", " obvious; the man in the mask and the\n", " man running the camera, but I caught\n", " a glimpse of a third man in a\n", " mirror. It's nothing that can be\n", " used for identification, but he was\n", " there, watching...\n", "\n", " ON THE WALL: Masked Man touches the girl's mouth, presses\n", " his lips to hers. Masked Man backs away, leaving frame,\n", " till the CAMERA MOVES to find Masked Man standing at a table\n", " with THREE large BOWIE KNIFES laid out...\n", "\n", " Welles notices something, puts the projector on FREEZE FRAME.\n", "\n", " WELLES (V.O., cont)\n", " So, there were three. They would\n", " have kept it small, wouldn't have\n", " let anyone in on it they didn't have\n", " to. That's all for now... except,\n", " I feel I should tell you... with\n", " this looking like it happened at\n", " least five or six years ago...\n", "\n", " Welles walks to the frozen IMAGE on the wall. It shows the\n", " Masked Man's hands in frame, fingering the blades.\n", "\n", " WELLES (V.O., cont)\n", " Well, it's not very likely we'll\n", " ever find out who this girl was. \n", " (listens) \n", " I will, I'll keep trying. Goodbye.\n", "\n", " V.O. PHONE CALL ends with the SOUND of the PHONE HANGING UP.\n", "\n", " ON THE WALL: there's a DARK SPOT on Masked Man's hand, on\n", " the arch between his index finger and thumb. Grainy and\n", " hard to make out, but looks like a small TATTOO.\n", "\n", " INT. WELLES ROOM, BATHROOM -- NIGHT -- END MONTAGE\n", "\n", " Welles has the 8MM FILM threaded into his photo enlarger,\n", " projecting the IMAGE we just saw down onto the baseboard.\n", "\n", " He re-frames, CLOSER ON the masked Man's hand, REFOCUSING...\n", " the black spot is a little clearer, looks like a small STAR\n", " tattoo on the back of Masked Man's hand.\n", "\n", " INT. MISSING PERSONS ARCHIVE, FILE ROOM -- DAY\n", "\n", " Welles sits hunched over the card catalog, still unshaven,\n", " drinking coffee, flipping through smaller PICTURES of\n", " MISSING CHILDREN in one drawer, one by one by one...\n", "\n", " Welles rolls his neck. He looks to see the archive's\n", " director in the doorway. The director nods, leaving.\n", " Welles gets back to it, stooped over the catalog.\n", "\n", " FADE TO BLACK:\n", "\n", " TITLE CARD: three weeks later\n", "\n", " EXT. OFFICE BUILDING, MISSING PERSON ARCHIVE -- DAY\n", "\n", " In the lot, Welles gets wearily from his car, smoking. He\n", " tosses the cigarette, gets a Thermos off the front seat.\n", "\n", " INT. MISSING PERSON ARCHIVE, FILE ROOM -- DAY\n", "\n", " Welles pulls out a card catalog drawer labeled \"North\n", " Carolina 1992,\" flipping through picture cards. The FACES\n", " of TEENAGERS: a happy BOY with blue eyes... a red headed\n", " GIRL with freckles... a ruddy faced BOY... a pretty GIRL\n", " with a ribbon in her hair... a black GIRL in a pink dress...\n", " a blonde haired BOY with curly hair...\n", "\n", " Welles furrows his brow.\n", "\n", " He backtracks to the pretty GIRL with the ribbon in her hair.\n", "\n", " Welles sits straight. He reaches into his pocket, hands\n", " shaking a little, takes out and unfolds the PHOTO he printed\n", " of the girl from the snuff film. It's her.\n", "\n", " Welles compares the two pictures. She's prettier in the\n", " card catalog photo, but it's her.\n", "\n", " Welles can't believe it, looks around. Secretaries at other\n", " files don't even know he's there. Welles pulls out his\n", " notepad, scribbling down INFORMATION off the card...\n", "\n", " Writing the girl's name: \"Mary Anne Matthews.\"\n", "\n", "\n", " EXT. INTERSTATE HIGHWAY -- NIGHT\n", "\n", " Welles, car races past, alone on the dark freeway.\n", "\n", " EXT. FAYETTEVILLE CITYSCAPE -- ESTABLISHING -- DAY\n", "\n", " Another small city. Blue skies above.\n", "\n", " TITLE: Fayetteville, North Carolina\n", "\n", " EXT. PUBLIC LIBRARY -- ESTABLISHING -- DAY\n", "\n", " Suburban library. Kids play hop-scotch in the parking lot.\n", "\n", " INT. FAYETTEVILLE LIBRARY, MICROFICHE ROOM -- DAY\n", "\n", " Welles works the MICROFICHE MACHINE, scrolling through old\n", " issues of the LOCAL NEWSPAPER, finds an ARTICLE headlined\n", " \"Search Continues for Local Teen.\"\n", "\n", " There's a PICTURE of the GIRL, Mary Anne Mathews; the same\n", " picture Welles found in the Missing Person Archive.\n", "\n", " Welles reads the article, writing on a LEGAL PAD.\n", "\n", " TIME CUT:\n", "\n", " NEWSPRINT SCROLLS past on the MICROFICHE MACHINE, till...\n", " \"No Leads in Girl's Disappearance.\" Same picture.\n", " The date at the top: \"July 12, 1992.\"\n", "\n", " TIME CUT:\n", "\n", " NEWSPRINT BLURS past... stops on a page of OBITUARIES.\n", " Top of the page: \"September 4, 1993.\"\n", "\n", " CLOSE ON: \"Mathews, Robert Steven, 1948-1993.\"\n", " \"Dead in an apparent suicide, Robert Mathews was discovered\n", " yesterday morning in the basement of...\"\n", "\n", "\n", " EXT. MATHEWS HOUSE, FAYETTEVILLE SUBURB -- DAY\n", "\n", " A tree-lined street of poor, boxy homes. Welles' car parks\n", " in front of one HOUSE with a neglected lawn.\n", "\n", " IN THE CAR\n", "\n", " Welles, clean shaven, picks a CLIPBOARD with a file folder\n", " and his legal pad on it, thumbs pages. He drums his\n", " fingers, opens the glove compartment, pulls out the car's\n", " registration, other papers and \"Jiffy-Lube\" service reports,\n", " uses them to pad the file.\n", "\n", " Welles takes a BOTTLE of COLOGNE from his pocket. He\n", " considers it, opens the bottle, applies cologne to his neck.\n", "\n", " EXT. MATHEWS HOUSE, FRONT PORCH -- DAY\n", "\n", " Welles knocks, clipboard in hand. A sad, middle-aged woman\n", " answers, MRS. MATHEWS, looking through the screen door.\n", "\n", " MRS MATHEWS\n", " Yes... ?\n", "\n", " WELLES\n", " (smiles)\n", " Hello, Mrs. Mathews, my name's\n", " Thomas Jones, I'm a state licensed\n", " investigator...\n", "\n", " Welles holds up his identification only long enough for Mrs.\n", " Mathews to see it looks official.\n", "\n", " WELLES\n", " I've been hired as an independent\n", " contractor by the U.S. Resource\n", " Center for Missing Persons as part\n", " of an internal audit. If you have\n", " any time over the next few days, I'd\n", " like to make an appointment to ask\n", " some questions about the\n", " disappearance of your daughter.\n", "\n", " MRS MATHEWS\n", " I don't understand, who are... ?\n", "\n", " WELLES\n", " I'm sorry, let me explain, the\n", " R.C.M.P. is a support organization\n", " and archive, not unlike the Center\n", " for Missing and Exploited Children\n", " in Washington. I'm sure you've\n", " dealt with them before?\n", "\n", " MRS MATHEWS\n", " Yes, but... \n", "\n", " WELLES \n", " These volunteer organizations are\n", " sort of interconnected, functioning\n", " hand in hand with law enforcement.\n", " The R.C.M.P. brought me in to review\n", " their investigations...\n", " (holds up clipboard)\n", " ... fact-check their records, see if\n", " there's anything they missed,\n", " anything they should be doing\n", " different. I'm here for a few days,\n", " before I head back up to Virginia.\n", " These reports go to the Justice\n", " Department eventually. I spoke to\n", " your F.B.I. contact a few days ago,\n", " uh...\n", "\n", " Welles pretends to look for the name on a Jiffy Lube page...\n", "\n", " WELLES \n", " What was the name... ? I've got it\n", " here somewhere...\n", "\n", " MRS MATHEWS\n", " Neil... Neil Cole.\n", "\n", " WELLES\n", " (pretends he found it)\n", " Right, Agent Cole told me he'd call\n", " and let you know to expect me. He\n", " didn't call?\n", "\n", " MRS MATHEWS\n", " No.\n", "\n", " WELLES\n", " (looking on legal pad)\n", " Well, I'm following up on your\n", " daughter, Mary, height; five four,\n", " weight; hundred ten pounds, brown\n", " eyes, blonde hair. Born April 24,\n", " 1976. Missing June 11th, 1992. A\n", " runaway, that's how she's listed.\n", " Is this information correct... ?\n", "\n", " Mrs. Mathews stares, nods.\n", "\n", " WELLES\n", " I'm sorry, I know this isn't easy.\n", " Is there a more convenient time... ?\n", " (looks at watch)\n", " Can I buy you lunch, would that be\n", " alright?\n", "\n", " Mrs. Mathews looks him up and down.\n", "\n", "\n", " EXT. DAIRY QUEEN RESTAURANT -- DAY\n", "\n", " Welles and Mrs. Mathews eat at a PICNIC TABLE on the patio.\n", "\n", " WELLES\n", " It's very important you don't let\n", " this raise your expectations. It's\n", " not going to effect any ongoing\n", " efforts. All I'm saying is, please\n", " know, I'm not here to create any\n", " false hope.\n", "\n", " MRS MATHEWS\n", " They hired you. You're like, a\n", " private detective?\n", "\n", " WELLES\n", " That's exactly what I am.\n", "\n", " Mrs. Mathews chews, staring off into the distance.\n", "\n", " MRS MATHEWS\n", " I didn't think there were private\n", " detectives anymore, except on TV.\n", "\n", " WELLES\n", " You probably expect me to be wearing\n", " a trench coat and a hat. Drinking\n", " whiskey, chasing women and getting\n", " beaten up by guys with broken noses.\n", " Want to know what it's really like? \n", " It's sitting in a car and staring at\n", " a hotel window for three days\n", " straight, pissing in a plastic\n", " bottle, pardon me, because some guy\n", " thinks his wife's cheating on him.\n", " Glamorous, huh? And the guy who\n", " hired you, he has a hair-lip,\n", " dandruff and crooked teeth, and you\n", " could have told him the minute you\n", " laid eyes on him his wife's\n", " cheating, and you don't blame her.\n", "\n", " Mrs. Mathews smiles.\n", "\n", " WELLES\n", " It's refreshing to actually sit down\n", " and meet someone face to face,\n", " someone nice like you.\n", "\n", " Welles smiles. Mrs. Mathews takes out a cigarette. Welles\n", " lights her, joins her in smoking, refers to his clipboard.\n", "\n", " WELLES\n", " So, she didn't leave a note? She\n", " never gave any indication where she\n", " might go, before she left?\n", "\n", " MRS MATHEWS\n", " No.\n", "\n", " WELLES\n", " She just seemed... depressed... ?\n", "\n", " MRS MATHEWS\n", " She didn't seem herself. For months\n", " there never was any way to get her\n", " to talk about it. One night we went\n", " to bed... the next morning she was\n", " gone. She took some clothes.\n", "\n", " WELLES\n", " What was she running from?\n", "\n", " MRS MATHEWS\n", " I don't know.\n", "\n", " WELLES\n", " If there's anything you feel\n", " uncomfortable talking about, tell\n", " me, but I have to ask. Your\n", " husband... he committed suicide?\n", "\n", " MRS MATHEWS\n", " Yes.\n", "\n", " WELLES\n", " September 4th, 1993. About a year\n", " after Mary disappeared.\n", "\n", " MRS MATHEWS\n", " We were divorced by then. Things\n", " fell apart... he was living with a\n", " friend...\n", "\n", " WELLES\n", " Why do you think he did it?\n", "\n", " MRS MATHEWS\n", " It got to be too much for him.\n", "\n", " WELLES\n", " You have to forgive me, but in these\n", " circumstances... with your\n", " daughter...\n", " (pause)\n", " Were there any indications of... any\n", " sort of abuse?\n", "\n", " MRS MATHEWS\n", " There wasn't anything like that.\n", " The police and the FBI people asked,\n", " but there wasn't anything happened\n", " like that, never. My husband... his\n", " heart broke when Mary left...\n", "\n", " WELLES\n", " I didn't mean to...\n", "\n", " MRS MATHEWS\n", " You try going through what we did.\n", " Bob couldn't take it, that's all.\n", " Christ, there's times when it still\n", " seems like I can't either.\n", "\n", " WELLES\n", " I had to ask. I apologize.\n", "\n", " MRS MATHEWS\n", " No one knows what it's like. You\n", " can't even imagine how much it hurts. \n", "\n", " Welles is miserable. A few CUSTOMERS walk past, looking at\n", " Mrs. Mathews. She tries not to notice then noticing.\n", "\n", " MRS MATHEWS\n", " People remember me from the news.\n", " (pause)\n", " Can you drive me back now?\n", "\n", " WELLES\n", " Of course. \n", "\n", "\n", " INT. MATHEWS HOUSE, MARY'S ROOM -- DAY\n", "\n", " Mrs. Mathews enters. Welles follows. \n", "\n", " This was the girl's room, exactly as she left it -- POSTERS\n", " of ACTORS on the wall, many STUFFED ANIMALS on the pink\n", " sheets of the carefully made bed. Perfectly preserved.\n", "\n", " MRS MATHEWS\n", " This is her room.\n", "\n", " Welles looks around, uncomfortable.\n", " Shelves have PICTURES of MARY with female friends, a\n", " collection of CERAMIC FIGURINES of CLOWNS and ANIMALS.\n", "\n", " MRS MATHEWS\n", " The police made a wreck of it, but\n", " I put it back exactly how it was.\n", " Just how she likes it.\n", "\n", " Welles takes a few steps into the room, looks down at a DESK\n", " where there are SIX brightly wrapped GIFTS.\n", "\n", " MRS MATHEWS\n", "\n", " Those are for her birthday. One for\n", " every year she's missed. They'll be\n", " waiting for her when she comes back. \n", "\n", " Welles is nearly overwhelmed by sadness, struggling to hide\n", " it. He backs to the door, looks at his watch...\n", "\n", " WELLES\n", " I... I shouldn't take anymore of\n", " your time. Maybe we can finish\n", " tomorrow. I'll call tomorrow...\n", "\n", " MRS MATHEWS\n", " Okay.\n", "\n", " EXT. MATHEWS HOUSE -- DAY\n", "\n", " Welles escapes to his car, climbing in. He starts it up...\n", "\n", " IN THE CAR\n", "\n", " Welles drives, tears welling up in his eyes. He has to pull\n", " over and park, wiping his tears, fighting for composure.\n", "\n", "\n", " INT. WELLES' ROOM -- NIGHT\n", "\n", " Welles has unpacked. He's on the bed, on his CELLULAR...\n", "\n", " WELLES\n", " (into phone)\n", " You should be able to take a shower\n", " and still have hot water left, honey.\n", " (listens)\n", " Call him back and tell him I said\n", " so. The goddamn thing's still under\n", " warranty.\n", " (listens)\n", " I'm okay. It's hard here. It's\n", " hard.\n", " (listens)\n", " I've got a lead I have to follow\n", " through. To be honest, I don't\n", " think I'm going to get very far.\n", " I miss you. I love you.\n", "\n", "\n", " INT. MATHEWS HOUSE, KITCHEN -- MORNING\n", "\n", " Welles sits at the kitchen table. Mrs. Mathews makes\n", " coffee. The home's decor is cheap and flowery.\n", "\n", " MRS MATHEWS \n", " We weren't religious. We never\n", " forced religion down her throat,\n", " like I've seen some parents do to\n", " their kids. We never made her go to\n", " church. But, after Mary was gone,\n", " that's when I got religious.\n", "\n", " Mrs. Mathews brings two cups of coffee, sits.\n", "\n", " MRS MATHEWS\n", " Doesn't make much sense, does it?\n", " When everything's happy, when life's\n", " fine and you have every reason to\n", " believe there's a God, you don't\n", " bother. Then, something horrible\n", " happens... that's when you start\n", " praying all the time. That's when\n", " you start going to church.\n", "\n", " WELLES\n", " We're all like that.\n", "\n", " MRS MATHEWS\n", " Are you religious?\n", "\n", " WELLES\n", " No.\n", "\n", " MRS MATHEWS\n", " You should be.\n", "\n", " Mrs. Mathews drinks coffee, stares into the cup.\n", "\n", " WELLES\n", " I've got what I need for my report.\n", " There is... there is one thing that\n", " bothers me though.\n", "\n", " MRS MATHEWS\n", " What? \n", "\n", " WELLES\n", " It's not really my place, but it's\n", " not easy for me to set aside the\n", " private detective part of me either.\n", " See, I know a little about missing\n", " persons. When kids run, they almost\n", " always leave a note. It's guilt.\n", " They want to say goodbye.\n", "\n", " MRS MATHEWS\n", " There wasn't one. The police looked.\n", "\n", " WELLES\n", " Do you think the police did a good\n", " job?\n", "\n", " MRS MATHEWS\n", " I don't know. I think so.\n", "\n", " WELLES\n", " It is possible... and I know this\n", " isn't something you want to hear.\n", " Your daughter may have tried to hide\n", " a note where she thought you would\n", " eventually find it, but where she\n", " knew your husband would never find\n", " it. She might have wanted to tell\n", " you something...\n", "\n", " MRS MATHEWS\n", " No. You don't have any reason to\n", " think that...\n", "\n", " WELLES\n", " If the police focused their search\n", " in her room, her belongings, well\n", " that'd be only natural, but they may\n", " have been looking in the wrong place.\n", "\n", " Mrs. Mathews is getting upset.\n", "\n", " MRS MATHEWS\n", " How... how can you say that to me...?\n", "\n", " WELLES\n", " Will you let me look?\n", "\n", " MRS MATHEWS\n", " My husband never laid a hand on her.\n", " She would have told me... she would\n", " have told me...\n", "\n", " WELLES \n", " You're probably right, and I\n", " probably won't find anything.\n", " I don't have a right to ask this,\n", " and you can kick me out of your\n", " house if you want, but this is my\n", " profession and there's a part of me\n", " that can't let it go. Police are\n", " just as human as you or I. They\n", " could have missed something. They\n", " probably didn't.\n", " (pause)\n", " Wouldn't you rather know?\n", "\n", " Mrs. Mathews thinks about it, tortured, shakes her head sadly.\n", "\n", " MRS MATHEWS\n", " Go ahead and look if you want. I\n", " don't care what you do.\n", "\n", " Mrs. Mathews gets up and walks out of the room.\n", "\n", "\n", " INT. MATHEWS HOUSE -- SEARCH MONTAGE -- DAY\n", "\n", " -In MRS. MATHEWS' BEDROOM, Welles looks through DRESSER\n", " drawers, methodically, replacing everything as it was...\n", " searches hat boxes and shoe boxes in a CLOSET... takes\n", " BOOKS off SHELVES, fanning the pages, shaking them out...\n", "\n", " -In a BATHROOM, Welles examines the contents of a MEDICINE\n", " CABINET, examining old prescription bottles... opens\n", " CABINETS under the sink...\n", "\n", " -In the LIVING ROOM, Mrs. Mathews sits slumped in a chair,\n", " staring at a soap opera on TELEVISION, a BOTTLE of scotch\n", " on TV tray beside her, drink in hand.\n", "\n", " -In the KITCHEN, Welles stands on a chair, searches high\n", " CABINETS... looks through low CABINETS, on his knees, pulls\n", " out pots and pans... fans the pages of COOK BOOKS...\n", "\n", " -Welles stands in the doorway of MARY'S ROOM, just stares.\n", " He takes a few steps back into the HALLWAY, looks up at the\n", " ceiling. There's an ATTIC DOOR there. Welles reaches to\n", " the door's handle, opens it, unfolds the portable stairs...\n", "\n", " -In the small ATTIC, Welles uses a penlight FLASHLIGHT,\n", " crouched under the low ceiling, looking through dusty BOXES\n", " of PHOTOGRAPHS; old photos of a wedding, of grandparents...\n", " Welles moves to pull back dusty sheets, finds a large\n", " WICKER BASKET and broken BICYCLE underneath...\n", "\n", " Welles opens the basket, takes out BLANKETS and QUILTS\n", " in mothballs. He finds a wide VELVET BOX, takes it out,\n", " opens its hinged lid to reveal a set of good SILVERWARE.\n", " He touches the tarnished silverware, lifts out the top tray.\n", " Underneath, resting on top of more silverware, is a DIARY.\n", "\n", " Welles opens the DIARY, finds written: \"Mary Anne Mathews.\"\n", "\n", " Welles turns pages. The DIARY'S about half-full of\n", " feminine, cursive handwriting. After the last written\n", " page, a PAGE has been TORN OUT. Welles fingers the ragged\n", " edge, flips through the blank pages till he comes to the\n", " very last page, a GOODBYE NOTE. Welles sits and reads...\n", "\n", " MARY'S VOICE (V.O.)\n", " (emotionless monotone)\n", " \"Dear mom. If you're reading this,\n", " it means I called you from\n", " Hollywood, California and told you\n", " where to find my diary. I don't\n", " think I'll be able to tell you this\n", " when I talk to you, so I'm writing\n", " it down here. You know I haven't\n", " been happy for a long, long time.\n", " For a long time now dad's been doing\n", " things I couldn't tell you. He's\n", " been touching me and it's getting\n", " worse. I can't stay anymore. I\n", " know you and I haven't always gotten\n", " along sometimes, but please don't\n", " blame yourself. There isn't\n", " anything you can do. I'm going to\n", " make a whole new life in California.\n", " Maybe someday you'll see me on TV or\n", " in magazines. Don't worry about me.\n", " Love, Mary Anne.\"\n", "\n", " INT. MATHEWS HOUSE, HALLWAY OUTSIDE MARY'S ROOM -- DAY\n", "\n", " Welles shuts the attic door, takes the DIARY from his\n", " pocket, hides it in his waistband at the small of his back.\n", "\n", " INT. MATHEWS HOUSE, LIVING ROOM -- DAY\n", "\n", " Welles enters. Mrs. Mathews looks up from the TV.\n", "\n", " WELLES\n", " You were right.\n", " (pause)\n", " I didn't find anything. I'm going\n", " to run and get something to eat.\n", " Are you hungry?\n", "\n", " MRS MATHEWS\n", " Yes.\n", "\n", "\n", " INT. COPY SHOP -- LATE DAY\n", "\n", " Welles uses a self-serve COPY MACHINE, flattening the DIARY\n", " on the glass, photocopying the DIARY as quickly as he can.\n", "\n", "\n", " INT. MATHEWS HOUSE, LIVING ROOM -- NIGHT\n", "\n", " Welles sits picking at fast food in front of him. Mrs.\n", " Mathews' food isn't even unwrapped. \n", "\n", " She's numb from her drink, watching a GAME SHOW, smoking. \n", "\n", " WELLES\n", " Do you ever consider... do you\n", " realize that Mary may never come\n", " back?\n", "\n", " Mrs. Mathews looks to Welles, looks back at the TV.\n", "\n", " MRS MATHEWS\n", " I think about it everyday. But,\n", " every time the phone rings... every\n", " single time, I still think it's her.\n", "\n", " WELLES\n", " It's been six years.\n", "\n", " MRS MATHEWS\n", " What am I supposed to do? Forget\n", " her? Time heals all wounds, right?\n", " (misery building)\n", " She's all I think about, and I've\n", " learned to live with that. But, you\n", " want the truth... the real truth?\n", " If I had a choice... if I had to\n", " choose, between her being out there,\n", " living a good life and being happy,\n", " and me not knowing; never finding\n", " out what happened to her...\n", " (pause)\n", " ... or her being dead and me\n", " knowing...\n", " (pause)\n", " I'd choose to know.\n", "\n", " Mrs. Mathews stares into the TV, wipes tears.\n", " Welles takes a deep breath and holds it. He watches her a\n", " long moment, motionless. Finally he stands, voice unsteady.\n", "\n", " WELLES\n", " Excuse me, I have to use your\n", " bathroom.\n", "\n", " INT. MATHEWS HOUSE, HALLWAY OUTSIDE MARY'S ROOM -- NIGHT\n", "\n", " Welles comes to the attic door, quietly pulls it open.\n", "\n", " INT. MATHEWS HOUSE, ATTIC -- NIGHT\n", "\n", " Welles uses his penlight, digs out the DIARY from the hiding\n", " place in his waistband, replaces it in the box of\n", " silverware, closes the box.\n", "\n", " INT. MATHEWS HOUSE, MARY'S ROOM -- NIGHT\n", "\n", " Welles enters, takes a PICTURE FRAME off one shelf, opens\n", " the back and takes out the PHOTO of MARY from inside.\n", "\n", " INT. MATHEWS HOUSE, LIVING ROOM -- NIGHT\n", "\n", " Mrs. Mathews still gazes into the TV. Welles passes the\n", " doorway, not looking in, heading to the front door, opening\n", " the door and walking out...\n", "\n", " Mrs. Mathews doesn't even notice, doesn't look up.\n", "\n", " EXT. MATHEWS HOUSE -- NIGHT\n", "\n", " Welles crosses the front lawn, not looking back, heading to\n", " the street, getting into his car, starting his car, doing a\n", " U-turn, driving away down the street.\n", "\n", "\n", " EXT. FAYETTEVILLE AIRPORT, LONG TERM PARKING -- MORNING\n", "\n", " Welles' boxes of belongings are piled in the back seat of\n", " his car. Welles covers them with a blanket, shuts the door.\n", "\n", " Welles opens the trunk of his car, pulls back the carpeting.\n", " He opens the brown BRIEFCASE. The briefcase is full of\n", " CASH, about $10,000, twenties and fifties in bundles.\n", "\n", " Welles transfers half the money into a carry-on bag, shuts\n", " the briefcase, covers it, closes the trunk.\n", "\n", "\n", " INT. AIRPLANE, COACH -- NIGHT -- MONTAGE\n", "\n", " The cabin's half-full, dark. Passengers sleep. Under the\n", " only illuminated reading light, Welles reads the PHOTOCOPIED\n", " DIARY. MARY'S VOICE is a again a flat monotone...\n", "\n", " MARY'S VOICE (V.O.)\n", " (as Welles reads)\n", " \"Dear diary. I have a big math test\n", " tomorrow. I have to get better\n", " grades. How come everybody does\n", " better than me? Kathy doesn't even\n", " study and she gets B's. Two boys\n", " got in a fight after school today.\n", " One boy knocked the other boy's\n", " tooth out, at least that's what it\n", " looked like. His nose and mouth\n", " were bleeding all over the place...\"\n", "\n", " EXT. LOS ANGELES INTERNATIONAL AIRPORT -- MORNING -- MONTAGE\n", "\n", " An airplane ROARS downwards, heading in for a landing.\n", "\n", " EXT. LA CITYSCAPE -- ESTABLISHING -- DAY -- MONTAGE\n", "\n", " An ugly city. \"HOLLYWOOD\" sign on the smoggy horizon.\n", "\n", " EXT. HOLLYWOOD HOTEL -- DAY -- MONTAGE\n", "\n", " A cheap, stucco hotel in a wounded Hollywood neighborhood.\n", "\n", " INT. HOLLYWOOD HOTEL -- DAY -- MONTAGE\n", "\n", " Welles' suitcase is open on the bed. Welles sits in a chair\n", " with his feet up, sweating in the heat, reading the DIARY.\n", "\n", " MARY'S VOICE (V.O.)\n", " (as Welles reads)\n", " \"... We're reading The Great Gatsby\n", " in English class. It's the story of\n", " this guy who has lots of fancy\n", " parties and all his friends come\n", " around and party with him, but later\n", " when he dies nobody comes to his\n", " funeral. Someone said there's a\n", " movie about it, but I looked in the\n", " video store and it wasn't there.\"\n", "\n", " Welles flips pages, further back in the DIARY...\n", "\n", " MARY'S VOICE (V.O.)\n", " (as Welles reads)\n", " \"Dear diary. I started my first job\n", " last week working part time at Price\n", " Mart department store...\"\n", "\n", " INT. LOS ANGELES BANK, SAFE DEPOSIT VAULT -- DAY -- MONTAGE\n", "\n", " Welles and a BANK EMPLOYEE both put keys into a SAFE DEPOSIT\n", " BOX, unlocking it and sliding out the metal drawer.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... The people I work with are all\n", " old and fat. All they live for is\n", " their next coffee break so they can\n", " smoke...\"\n", "\n", " INT. BANK, PRIVACY BOOTH -- DAY -- MONTAGE\n", "\n", " Welles is alone, opens the empty safe deposit drawer, takes\n", " the 8MM FILM from his pocket and puts it in the drawer.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... They eat lunch at the snack\n", " counter. Hot dogs and soft\n", " pretzels. Nachos with that orange\n", " cheese that comes out of a pump. I\n", " don't know what I'd do if I'm still\n", " working there when I get old...\"\n", "\n", " EXT. YOUTH HOSTEL -- ESTABLISHING -- DAY -- MONTAGE\n", "\n", " A large NEON CROSS identifies this HOSTEL in mid-Hollywood.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... I want to be a singer or an\n", " actress. I know it's a stupid\n", " dream, but I know I can do it if I\n", " get a chance...\"\n", "\n", " INT. YOUTH HOSTEL -- DAY -- MONTAGE\n", " \n", " Welles talks to the MAN behind the counter, shows the\n", " PICTURE of MARY taken from Mrs. Mathews' house.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... Everyone's always telling me\n", " how pretty I am. I don't think I\n", " am. When I look in the mirror I\n", " wonder who they're talking about.\"\n", "\n", " The MAN behind the counter shakes his head.\n", "\n", " INT. HOMELESS SHELTER -- DAY -- MONTAGE\n", "\n", " A run-down shelter. Welles shows the PICTURE of MARY to the\n", " PROPRIETOR, explaining. The proprietor shakes his head.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"Dear diary. I went out with Bob\n", " today, the cute boy in my science\n", " class. He took me to a movie...\"\n", "\n", " EXT. YWCA, LIVING QUARTERS -- DAY -- MONTAGE\n", "\n", " Welles continues his trek, standing in the dank hallway of\n", " a YWCA DORMITORY, showing the PICTURE to a COUNSELOR.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... It was the middle of the day,\n", " but we held hands. I think he likes\n", " me. I really like him. He has\n", " black hair and grey eyes...\"\n", "\n", " EXT. LA FREEWAY -- DUSK -- MONTAGE\n", "\n", " Welles sits in his rental CAR, in a massive TRAFFIC JAM.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... He opened the car door for me\n", " and paid for the movie. When he\n", " took me home he said we should go\n", " out again soon. I hope he calls...\"\n", "\n", " EXT. HOLLYWOOD, RED LIGHT DISTRICT -- NIGHT -- MONTAGE\n", "\n", " Welles drives, looking out the windshield...\n", " at decaying \"PEEP SHOWS,\" an \"ADULT BOOKSHOP\" and \"SEX SHOP.\"\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"Dear diary. Janet says she slept\n", " with her boyfriend. I can't believe\n", " it. She says they did it last\n", " weekend while her parents were out\n", " of town...\"\n", "\n", " EXT. HOLLYWOOD, SUNSET BOULEVARD -- NIGHT -- MONTAGE\n", "\n", " Welles drives, watching overweight PROSTITUTES and tall,\n", " muscular TRANSVESTITES prowling the sidewalks in mini-skirts\n", " and stained, tight spandex pants.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... She said she liked it, but she\n", " didn't seem too happy. She didn't\n", " tell me many details. She said he\n", " used a condom.\"\n", "\n", " EXT. SANTA MONICA BOULEVARD -- NIGHT -- MONTAGE\n", "\n", " Teenaged MALE PROSTITUTES hang out in front of a PIZZA\n", " PARLOR. A few have their shirts off, crewcut and muscular.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"Dear diary. If I save enough money\n", " to go to community college maybe I\n", " can get good enough grades for a\n", " scholarship somewhere else...\"\n", "\n", " EXT. HOLLYWOOD BOULEVARD -- DAY -- MONTAGE\n", "\n", " A tribe of HOMELESS TEENAGERS sits on the sidewalk in front\n", " of SOUVENIR SHOPS. They beg money off pedestrians.\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... I've never been anywhere else.\n", " I don't think mom wants to let me\n", " go. Every time I try to talk about\n", " it she says it'll cost too much or\n", " she changes the subject.\"\n", "\n", " EXT. CHURCH, SOUP KITCHEN -- DAY -- MONTAGE\n", "\n", " A long line of HOMELESS PERSONS trails out the door. Welles\n", " stands out front, showing the PICTURE to a VOLUNTEER with a\n", " broom, and a PRIEST...\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"Dear diary. Something terrible\n", " happened today when dad and I were\n", " alone. I can't tell anyone. I feel\n", " sick. What did I ever do to make\n", " this happen to me?\"\n", "\n", " The volunteer and priest can't help. Welles is weary,\n", " futility beginning to wear on him, walks to his car...\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"Dear diary. My stomach hurts all\n", " the time. I just want to go to\n", " sleep and never wake up. I want to\n", " get out of my head and stop hearing\n", " myself think.\"\n", "\n", " INT. WELLES' RENTAL CAR -- IN MOTION -- NIGHT -- MONTAGE\n", "\n", " Welles smokes, driving, blankly watching the road ahead...\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"Dear diary. Grandma fell and broke\n", " her leg last week. We drove down to\n", " visit her in the hospital.\n", " Hospitals smell like dead people.\"\n", "\n", " EXT. FREEWAY -- HELICOPTER SHOT -- NIGHT -- CONTINUOUS\n", "\n", " FOLLOW Welles' car speeding along...\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"Dear diary. It's happening all the\n", " time now. There s nothing I can do.\n", " I'm all alone. Everything is bad.\n", " I used to have lots of dreams and\n", " I'd remember them when I woke up,\n", " but that doesn't happen anymore.\"\n", "\n", " PULL BACK: still FOLLOWING WELLES' CAR, over the FREEWAY...\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"Dear diary. If I can get to\n", " California, I'll be okay. I've got\n", " money saved. I can work as a\n", " waitress till I get something\n", " better. Billy says he and his\n", " family went to California once on\n", " vacation. He says it never rains.\n", " They stayed near the beach and he\n", " went swimming in the ocean...\"\n", "\n", " CONTINUE TO PULL BACK -- till Welles' car is very, very far\n", " below -- REVEALING the staggering size of the City of Los\n", " Angeles, where the lights go on forever and forever.\n", "\n", " INT. WELLES' ROOM -- NIGHT -- MONTAGE\n", "\n", " Welles is seated, elbows on his knees, reading the DIARY...\n", "\n", " MARY'S VOICE (V.O., cont)\n", " \"... I hope I can be an actress. I\n", " hope I can be happy. I'll probably\n", " have to go to acting school. I wish\n", " I knew someone who lived there.\n", " I'll miss my friends, but at least\n", " I'll be far away where no one can\n", " ever find me.\"\n", "\n", " Welles has come to the end of the writing in the DIARY. The\n", " next PHOTOCOPIED PAGE shows an image of the TORN RAGGED EDGE\n", " of the diary's missing page.\n", "\n", "\n", " EXT. VIDEO PORN SHOP -- DAY\n", "\n", " Welles enters this \"ADULT VIDEO\" storefront.\n", "\n", " INT. VIDEO PORN SHOP -- DAY\n", "\n", " The CLERK is a sleazy forty-year-old man with rings in his\n", " pierced nose and lips, behind a counter by the door. He\n", " watches Welles pass.\n", "\n", " Welles looks around, uncomfortable. A few of the other\n", " CUSTOMERS, all men, sneak glances at Welles. Display\n", " shelves run floor to ceiling, full of hundreds of shrink-\n", " wrapped XXX PORNO TAPES. Welles pretends to browse.\n", "\n", " Handmade signs above each section identify content: \"ANAL,\"\n", " \"BIG TITS,\" \"CUMSHOTS,\" \"BONDAGE and FETISH,\" etc...\n", "\n", " Welles looks back at the clerk, who stares at Welles.\n", " Welles feels obligated to pick up a box and act like he's\n", " considering it. He glances at other customers.\n", "\n", " Each man keeps his eyes forward on the pornography. One guy\n", " has his arms full of about ten videos.\n", "\n", " Welles puts the tape back, walks to the front counter. The\n", " clerk watches him the whole time.\n", "\n", " WELLES\n", " Is this pretty much it?\n", "\n", " The clerk just stares at Welles.\n", "\n", " WELLES\n", " Just... just videos?\n", "\n", " PIERCED CLERK\n", " What are you looking for?\n", "\n", " Welles considers, decides to leave, exiting...\n", "\n", " WELLES\n", " Nothing.\n", "\n", " PIERCED CLERK\n", " Fuck-head.\n", "\n", "\n", " INT. ADULT BOOKSTORE -- DAY\n", "\n", " Welles comes in through the blacked-out door. This place is\n", " larger than the last. TWO CLERKS are behind the counter.\n", " One clerk's pricing porn, the other, MAX, 25, reads a porno-\n", " novel. Max has long hair, colorful tattoos covering his\n", " forearms, has a HIGHLIGHTER MARKER in his mouth.\n", "\n", " Welles browses. There's a huge video bargain bin. Walls\n", " are covered in videos, sex toys, inflatable women, etc. \n", "\n", " CUSTOMERS, again all wary males, follow proper porn-shop\n", " etiquette; look at the porn, not your fellow shopper.\n", "\n", " There are \"PEEP SHOW\" booths in the back. A MAN looks\n", " around, trying to be nonchalant, sweating profusely,\n", " slipping behind one curtain.\n", "\n", " Welles pretends to read the packaging on a triple-pack of\n", " dildos, looks towards the front...\n", "\n", " Behind the register, Max takes a look to make sure the other\n", " clerk is busy, takes the cap of his Highlighter pen and\n", " highlights a section in the book he's reading.\n", "\n", " Welles notes this. He goes to the substantial MAGAZINE\n", " RACK, picks up a porn tabloid, pages through it. He selects\n", " sex MAGAZINES and NEWSPAPERS, choosing about twenty-five.\n", "\n", " Welles takes this pile up to Max, gets out his wallet. Max\n", " starts ringing everything up.\n", "\n", " MAX\n", " Big date tonight?\n", "\n", " WELLES\n", " (embarrassed)\n", " Yeah... guess so.\n", "\n", " MAX \n", " Can I interest you in a battery\n", " operated-vagina?\n", "\n", " WELLES\n", " Pardon me?\n", "\n", " MAX\n", " My boss tells me I have to do more\n", " suggestive selling.\n", "\n", " WELLES \n", " Well, it's tempting, but no thanks.\n", "\n", " MAX\n", " It's your call, but you're gonna be\n", " sorry when you're in one of those\n", " everyday situations that call for a\n", " battery-operated vagina and you\n", " don't have one.\n", "\n", " WELLES\n", " I'll risk it. \n", "\n", " Max shoves everything into a bag and hands it over.\n", "\n", " MAX\n", " Thank you for shopping at Adult\n", " Bookstore. Have a nice day.\n", "\n", " Welles takes the bag. Max returns to his book. Welles is\n", " leaving, but stops at the end of the counter.\n", "\n", " WELLES\n", " What are you reading?\n", "\n", " Max holds up the book, \"ANAL SECRETARY.\"\n", "\n", " MAX\n", " Once you pick it up you can't put it\n", " down.\n", "\n", " WELLES\n", " Catchy title. What are you really\n", " reading?\n", " (off Max's look)\n", " Hard to believe that book's got any\n", " parts worth highlighting.\n", "\n", " Max takes a glance at the other clerk, opens the pages of\n", " the book and shows it to Welles. \"Music for Chameleons.\"\n", "\n", " WELLES\n", " Truman Capote.\n", "\n", " MAX\n", " I tear off the cover and paste this\n", " one on...\n", " (nods towards clerk)\n", " You know how it is.\n", "\n", " WELLES\n", " Wouldn't want to embarrass yourself\n", " in front of your fellow perverts.\n", "\n", " MAX\n", " (smiles, shrugs)\n", " Might get drummed out of the\n", " pornographer's union, and then where\n", " would I be?\n", "\n", " Another CUSTOMER clears his throat, waiting at the register.\n", " Max turns to help him. Welles heads out.\n", "\n", "\n", " INT. WELLES' ROOM -- NIGHT\n", "\n", " Welles is at a table, porn publications spread out before\n", " him, looking through the back of a PORNO TABLOID...\n", "\n", " Turning pages of HARDCORE ADVERTISEMENTS: \"Adults Only,\"\n", " \"She Male Films,\" \"Amateur Sex Videos,\" \"Women and\n", " Animals -- you've got to see it to believe it...\"\n", "\n", " Welles moves on to the next MAGAZINE, turning to the back,\n", " again, page after page: \"Watersports and Fisting\n", " Specialists,\" \"100's of Anal Films,\" \"Asian Sex...\"\n", "\n", " HUNDREDS of 900 NUMBER ads with naked women urging callers\n", " to pick up the phone. EROTIC CLASSIFIEDS; hundreds of\n", " amateur photos of naked men and women with faces and\n", " genitalia blacked over... \"Men Seeking Women,\" \"Women\n", " Seeking Women\", \"Men Seeking Men,\" \"Transvestites...\"\n", "\n", " It is endless. More CLASSIFIEDS: \"Sex Slaves Wanted,\"\n", " \"ACTRESSES WANTED,\" \"Underground Films,\" \"SPECIALTY FILMS\n", " OFFERED,\" \"S+M and BONDAGE,\" \"Fetish Videos.\"\n", "\n", " Welles leaves it, overwhelmed, goes to lay down on the bed.\n", " He picks up his cellular phone, dialing.\n", "\n", " WELLES\n", " (into phone)\n", " Hi, honey, how are you? How's Cindy?\n", " (listens)\n", " The way it's going I'm about ready\n", " to pack my bags...\n", "\n", " INT. NONDESCRIPT ROOM -- NIGHT -- CONTINUOUS\n", "\n", " In a dark room, we don't know where, a DARK FIGURE of a MAN\n", " is silhouetted. He wears HEADPHONES, listening...\n", "\n", " WELLES' VOICE (V.O.)\n", " (through headphones)\n", " ... I've got a feeling the person\n", " I'm looking for came out here and\n", " got swallowed up by the place.\n", "\n", " AMY'S VOICE (V.O.)\n", " (through headphone)\n", " Come back now. Just drop it and\n", " come back...\n", "\n", " WELLES' VOICE (V.O.)\n", " (through headphone)\n", " I would if I could. I'll be home\n", " soon, believe me. It won't be long.\n", "\n", " AMY'S VOICE (V.O.)\n", " (through headphone)\n", " I miss you.\n", "\n", " INT. WELLES ROOM -- NIGHT -- CONTINUOUS\n", "\n", " Welles shuts his eyes, still on the cellular...\n", "\n", " WELLES\n", " (into phone)\n", " I miss you too. I love you very\n", " much. Give Cinderella a kiss for me\n", " and tell her I love her, alright?\n", " (listens)\n", " Goodnight.\n", "\n", "\n", " INT. ADULT BOOKSTORE -- DAY\n", "\n", " Max is at the register. A crewcut WOMAN in overalls works\n", " behind the counter with him. Welles approaches.\n", "\n", " WELLES\n", " Remember me?\n", "\n", " MAX\n", " Came back for that battery-operated\n", " vagina, right? Told you you would.\n", "\n", " Welles shows his IDENTIFICATION, lets Max get a good look.\n", "\n", " WELLES\n", " I need some information. Thought\n", " you might be able to help.\n", "\n", " MAX\n", " (of identification)\n", " Thomas Welles. Nice picture.\n", "\n", " Welles takes out an ENVELOPE, puts it on the counter.\n", "\n", " WELLES\n", " I'll be outside having a cigarette.\n", "\n", " Welles leaves. Max watches him go. Max opens the envelope,\n", " takes out two fifty dollar bills, pockets them.\n", "\n", " MAX\n", " (to other clerk)\n", " Cover me, Beth. I'm taking a break.\n", "\n", " EXT. ADULT BOOKSTORE -- DAY\n", "\n", " Welles stands down the sidewalk, smoking. Max comes out\n", " from the porn shop, walks to Welles, looking around.\n", "\n", " MAX\n", " I don't know what you're looking\n", " for, mister, but so we're clear from\n", " the start, I'm straight.\n", "\n", " WELLES\n", " Good for you.\n", "\n", " Welles and Max walk down the block, past HOMELESS MEN with\n", " shopping carts overflowing with junk.\n", "\n", " WELLES\n", " How long you been working there?\n", "\n", " MAX\n", " Three, four years.\n", "\n", " WELLES\n", " What's your name, if you don't mind\n", " me asking? \n", "\n", " MAX\n", " Max.\n", "\n", " WELLES\n", " Well, here's the deal, Max. This\n", " thing I'm on right now has something\n", " to do with underground pornography.\n", " Stuff that's sold under the counter,\n", " illegally...\n", "\n", " MAX\n", " There's not much illegal.\n", "\n", " WELLES\n", " Well, whatever there is, whoever's\n", " dealing, however it's done, I want\n", " to know. I want a good look, so if\n", " you've got that kind of connection,\n", " great. If not, speak now.\n", "\n", " MAX\n", " You're not a cop, are you? If I ask\n", " and you are, you have to tell me.\n", "\n", " WELLES\n", " I'm not a cop.\n", "\n", " MAX\n", " You're a private eye. Like Shaft.\n", "\n", " WELLES\n", " Not quite.\n", "\n", " MAX\n", " From Pennsylvania. P.I. from PA.\n", " What are you doing out here?\n", "\n", " WELLES\n", " Well, there's the thing; you're not\n", " gonna know anything about what I'm\n", " doing, but you can make some money.\n", "\n", " MAX\n", " How much?\n", "\n", " WELLES\n", " How much do you make now?\n", "\n", " MAX\n", " Four hundred a week, off the books.\n", "\n", " WELLES\n", " Okay, let's pretend I live in the\n", " same fantasy world where you make\n", " four hundred a week in that dump.\n", " I'll give you six hundred for a few\n", " days. \n", "\n", " MAX\n", " Sounds good, pops.\n", "\n", " WELLES\n", " Here's my number if you need it...\n", " (writes on scrap paper)\n", " When can you start?\n", "\n", " MAX\n", " Tomorrow night, I get off at eight.\n", "\n", " WELLES\n", " See you then. Oh, and, don't call\n", " me \"pops.\"\n", "\n", " Welles walks away. \n", "\n", "\n", " INT. WELLES ROOM -- NIGHT\n", "\n", " Welles sleeps, despite the stead SOUND of TRAFFIC racing by\n", " his window. The PHONE RINGS, waking him. Welles looks at\n", " the clock radio, 2:23am, reaches to answer the phone...\n", "\n", " WELLES\n", " (into phone)\n", " ... Hello... ?\n", "\n", " MAX (V.O.)\n", " (from phone)\n", " Wake up, pops. Your education\n", " begins tonight.\n", "\n", " EXT. DOWNTOWN -- NIGHT\n", "\n", " Against the backdrop of downtown LA's bright skyscrapers,\n", " Welles' rental car heads into the lower bowels of the city,\n", " smaller, older, darker buildings...\n", "\n", " EXT. DOWNTOWN STREETS -- NIGHT\n", "\n", " The only people on the street are HOMELESS and SHADY\n", " CHARACTERS. Welles' car makes its way to a big deserted\n", " PARKING LOT. There are a few cars parked in one corner.\n", "\n", " Welles parks near the other cars and gets out. Max stands\n", " against a chain link fence. Welles goes to meet him.\n", "\n", " MAX\n", " Come on.\n", "\n", " Max leads the way, across the lot, towards dark alleyways.\n", "\n", " EXT. DOWNTOWN ALLEYWAY -- NIGHT\n", "\n", " Max and Welles move through this filth strewn alley between\n", " decaying brink buildings. They cone to a STAIRWELL leading\n", " down to pitch dark...\n", "\n", " INT. OLD BUILDING -- NIGHT\n", "\n", " Max enters through a crooked door, heads into a narrow,\n", " labyrinth hallway lit by bare bulbs. Welles follows.\n", "\n", " They come to another STAIRWAY leading down. At the bottom,\n", " a thick-necked GOON stands guarding double doors. \n", "\n", " GOON\n", " Are you a law enforcement agent or\n", " in any way affiliated with law\n", " enforcement?\n", "\n", " MAX\n", " Fuck you, Larry.\n", "\n", " Max heads to the double doors, waits for Welles.\n", "\n", " GOON\n", " (to Welles)\n", " Are you a law enforcement... ?\n", "\n", " WELLES\n", " No.\n", "\n", " INT. BASEMENT -- NIGHT\n", "\n", " Max and Welles enter through the double doors, into a kind\n", " of small, underground porn flea market. It's incredibly\n", " quiet. About fifteen CARD TABLES are set up in rows. The\n", " MEN behind the tables and the thirty or so \"CUSTOMERS\"\n", " looking through the merchandise make those in the previous\n", " porn shops look like high society.\n", "\n", " These are MIDDLE-AGED MEN, most balding, some with pot\n", " bellies, in shorts and tube socks, in sweatpants and Members\n", " Only jackets: plain men, but with a look of desperation in\n", " their eyes, glancing around nervously, greasy and afraid.\n", "\n", " ONE DEALER\n", " We're shutting down in fifteen\n", " minutes. Fifteen minutes.\n", "\n", " Welles makes his way to the tables, wary. One table is\n", " covered in dirty cardboard boxes, filled with HUNDREDS of\n", " PHOTOS of young children, mostly boys, naked. Each photo is\n", " wrapped in plastic, censored by masking tape.\n", "\n", " Welles swallows back disgust.\n", "\n", " The next table is piled high with used pornographic\n", " MAGAZINES. There are baggies with COLORFUL PILLS laid out.\n", " X-rated Polaroids wrapped in rubberbands.\n", "\n", " Max follows behind, unaffected, smokes a cigarette.\n", "\n", " Another table offers VIDEO TAPES with no identifying marks\n", " other than hand written labels with numbers written out,\n", " \"two,\" \"sixteen,\" \"five.\" And many bootleg VIDEOS with\n", " grainy, homemade labels showing WOMEN in extreme BONDAGE.\n", "\n", " Welles watches out the corner of his eye as the PLUMP MAN\n", " beside him pays for a thick stack of kiddie porn pictures.\n", " Welles waits till the man moves on, addresses the angry\n", " looking DEALER who's counting money.\n", "\n", " WELLES\n", " (points to numbered videos)\n", " What are these?\n", "\n", " ANGRY DEALER\n", " Mixed hard bondage. Rape films.\n", " Sick shit. Buy five, get one free.\n", "\n", " Welles looks around, wipes sweat off his top lip.\n", "\n", " WELLES\n", " Anything harder?\n", "\n", " ANGRY DEALER\n", " There's nothing harder.\n", "\n", " WELLES\n", " Snuff?\n", "\n", " ANGRY DEALER\n", " What you see is what I got, mister.\n", "\n", " WELLES\n", " You know where I can get it? I have\n", " a lot of money to spend.\n", "\n", " ANGRY DEALER\n", " There ain't no such thing as snuff.\n", " Why don't you fuck off? \n", "\n", " The dealer sits and keeps counting cash.\n", " Welles moves on Beyond the tables there's a CURTAINED\n", " DOORWAY. Welles walks to it, enters...\n", "\n", " INSIDE THE CURTAIN\n", "\n", " Folding chairs face a SCREEN. A PROJECTOR shows a silent\n", " movie; a BUXOM WOMAN in nurses uniform prepares an enema bag\n", " and tube. A hairy, overweight MAN lays face down on an\n", " examination table, naked, arms tied behind his back.\n", "\n", " In the darkness, a MAN shifts in his chair, grunting,\n", " obviously masturbating. A few chairs away, a man is bent\n", " over, moving his head in the lap of SOMEONE in a BLONDE WIG.\n", "\n", " A LARGE MAN approaches Welles from the dark.\n", "\n", " LARGE MAN\n", " You have to pay to come in here. \n", "\n", " Welles backs away, shuts the curtain.\n", "\n", "\n", " INT. ALL-NIGHT COFFEE SHOP -- NIGHT\n", "\n", " Not many people in the place. Welles drinks coffee. Max\n", " eats a huge breakfast.\n", "\n", " MAX\n", " You've got Penthouse, Playboy,\n", " Hustler, etc. Nobody even considers\n", " them pornography anymore. Then,\n", " there's mainstream hardcore. Triple\n", " X. The difference is penetration.\n", " That's hardcore. That whole\n", " industry's up in the valley.\n", " Writers, directors, porn stars.\n", " They're celebrities, or they think\n", " they are. They pump out 150 videos\n", " a week. A week. They've even got\n", " a porno Academy Awards. America\n", " loves pornography. Anybody tells\n", " you they never use pornography,\n", " they're lying. Somebody's buying\n", " those videos. Somebody's out there\n", " spending 900 million dollars a year\n", " on phone sex. Know what else? It's\n", " only gonna get worse. More and more\n", " you'll see perverse hardcore coming\n", " into the mainstream, because that's\n", " evolution. Desensitization. Oh my\n", " God, Elvis Presley's wiggling his\n", " hips, how offensive! Nowadays,\n", " Mtv's showing girls dancing around\n", " in thong bikinis with their asses\n", " hanging out. Know what I mean? For\n", " the porn-addict, big tits aren't big\n", " enough after a while. They have to\n", " be the biggest tits ever. Some porn\n", " chicks are putting in breast\n", " implants bigger than your head,\n", " literally. Soon, Playboy is gonna be\n", " Penthouse, Penthouse'll be Hustler,\n", " Hustler'll be hardcore, and hardcore\n", " films'll be medical films.\n", " People'll be jerking off to women\n", " laying around with open wounds.\n", " There's nowhere else for it to go.\n", "\n", " WELLES\n", " Interesting theory.\n", "\n", " MAX\n", " What you saw tonight, we're not\n", " talking about a video some dentist\n", " takes home over the weekend. We're\n", " talking about stuff where people get\n", " hurt. Specialty product. \n", "\n", " WELLES\n", " Child pornography.\n", "\n", " MAX\n", " There's two kinds of specialty\n", " product; legal and illegal. Foot\n", " fetish, shit films, watersports,\n", " bondage, spanking, fisting, she-\n", " males, hemaphrodites... it's beyond\n", " hardcore, but legal. This is the\n", " kind of hardcore where one guy's\n", " going to look at it and throw up,\n", " another guy looks at it and falls in\n", " love. Now, with some of the S+M and\n", " bondage films, they straddle the\n", " line. How are you supposed to tell\n", " if the person tied up with the ball\n", " gag in their mouth is a consenting\n", " or not? Step over that line, you're\n", " into kiddie porn. Rape films, but\n", " there aren't many. I've never seen\n", " one.\n", "\n", " WELLES\n", " Snuff films.\n", "\n", " MAX\n", " I heard you asking. That guy wasn't\n", " yanking you around. There's no such\n", " thing.\n", "\n", " WELLES\n", " What other ways are there to get\n", " illegal films? Who do you see?\n", "\n", " MAX\n", " First of all, basement sales like\n", " tonight aren't gonna last much\n", " longer. It's too risky, one, and\n", " two, everything's going on the\n", " internet. Anyone with a computer\n", " and enough patience can find\n", " anything he wants. It's heaven for\n", " those degenerate chicken-hawks.\n", " They're swapping pictures back and\n", " forth as fast as their modems can\n", " zap 'em. But, there's still some\n", " weird shit under the counter where\n", " I work sometimes. No one knows where\n", " it comes from. That's local\n", " underground, where information\n", " spreads by word of mouth. Those are\n", " zombies, hardcore junkies. Their\n", " hands are permanently pruned. They\n", " go out in the sun they don't burn,\n", " they blister. Other than that, all\n", " I know about is the mail.\n", " Classified ads in the paper with\n", " hidden codes. Secret couriers.\n", " Credit card orders to dummy\n", " corporations. Interstate wire\n", " transfers. Revolving P.O. boxes.\n", " But, if you're asking me who do you\n", " go to to get illegal shit... who\n", " knows? That's the whole point --\n", " the seller stays as far away from\n", " the buyer as possible, and vice\n", " versa, and cops can't trace the\n", " deal. There's ways to do it so\n", " nobody knows who anybody is.\n", "\n", " Welles watches Max eat.\n", "\n", " WELLES\n", " How old are you?\n", "\n", " MAX\n", " Twenty-five.\n", "\n", " WELLES\n", " Where are your parents?\n", "\n", " MAX\n", " I don't know, where are yours?\n", "\n", " WELLES\n", " I don't mean any offense... but what\n", " are you doing mixed up in all this?\n", "\n", " MAX\n", " I'm not mixed up in anything,\n", " hayseed. What are you talking about?\n", "\n", " WELLES\n", " You just strike me as smart enough\n", " to be doing something else.\n", "\n", " MAX\n", " Yeah, I'm a real genius. What\n", " choices have I got? Fuck, just\n", " because I know about stuff like\n", " tonight doesn't mean I deal it. I\n", " work a job. It beats pumping gas,\n", " beats making hamburgers.\n", "\n", " WELLES\n", " You're telling me it doesn't get to\n", " you?\n", "\n", " MAX\n", " You can't sit there all day watching\n", " the parade of losers that comes into\n", " that place without going numb. So\n", " what? \n", " Am I gonna go off and be a race car\n", " driver? Go to Harvard? Run for\n", " President? What about you, pops?\n", "\n", " WELLES\n", " What about me?\n", "\n", " MAX\n", " I see a ring on your finger. You\n", " have any kids?\n", "\n", " WELLES\n", " A daughter.\n", "\n", " MAX\n", " So, you have a wife and kid waiting\n", " for you in Pennsylvania... what are\n", " you doing mixed up in all this?\n", "\n", " WELLES\n", " Good question.\n", "\n", " EXT. ALL NIGHT COFFEE SHOP -- NIGHT\n", "\n", " Max and Welles comes out to the sidewalk, talking.\n", "\n", " ACROSS THE STREET\n", "\n", " INSIDE A PARKED CAR, through the windshield, SOMEONE watches\n", " Max and Welles say goodnight. Max walks to a waiting taxi.\n", "\n", " It's the sinister lawyer watching, LONGDALE, the late Mr.\n", " Christian's attorney, watching Welles go to his rental car.\n", "\n", "\n", " INT. WELLES' ROOM -- NIGHT -- MONTAGE\n", "\n", " Welles is seated, PROJECTOR RUNNING, watching the 8MM film.\n", "\n", " The last of the film makes its way through, threading out.\n", " The take-up reel spins, the film's tail flapping...\n", "\n", " Welles stares at the blank white square of light projected\n", " onto the wall. CELLULAR PHONE is HEARD RINGING...\n", "\n", " Welles finally looks to the projector, turns it off. The\n", " PHONE'S RINGING. Welles goes to sit on the bed, looking at\n", " the cellular phone on the bedside table. RINGING...\n", "\n", " Welles lets it RING. RINGING... RINGING... till it finally\n", " stops. Welles lays back on the bed and shuts his eyes.\n", "\n", "\n", " INT. CHRISTIAN HOUSE, MR CHRISTIAN'S OFFICE -- DAY\n", "\n", " Mrs. Christian is behind the desk, surrounded by BOXES of\n", " BANK RECORDS and FINANCIAL STATEMENTS, on the PHONE. \n", "\n", " MRS CHRISTIAN\n", " (into phone)\n", " My husband had five cash accounts he\n", " used to temporarily hold stock\n", " profits. Between November of 1991\n", " and March of 1992, he wrote one\n", " check out to cash from each account.\n", " He wrote these himself...\n", "\n", " INT. PHONE BOOTH, HOLLYWOOD -- DAY -- CONTINUOUS\n", "\n", " Welles is in the booth, listening...\n", "\n", " WELLES\n", " (into phone)\n", " Okay...\n", "\n", " MRS CHRISTIAN (V.O.)\n", " (from phone)\n", " My husband never dealt with money\n", " personally, certainly not cash.\n", "\n", " WELLES\n", " I'm not positive this means anything.\n", "\n", " MRS CHRISTIAN (V.O.)\n", " The checks were for odd amounts...\n", "\n", " INT. MR CHRISTIAN'S OFFICE -- DAY -- CONTINUOUS\n", "\n", " Mrs. Christian has the amounts written out on paper.\n", "\n", " MRS CHRISTIAN\n", " (into phone)\n", " One was for two hundred thousand,\n", " one dollar and thirteen cents.\n", " Another was for three hundred\n", " thousand, six hundred fifty four\n", " dollars and seventy six cents...\n", "\n", " WELLES (V.O.)\n", " (from phone)\n", " Okay, I follow you so far...\n", "\n", " MRS CHRISTIAN\n", " Totalled together, these five checks\n", " from five different accounts, they\n", " equal one million dollars.\n", "\n", " INT. PHONE BOOTH -- DAY -- CONTINUOUS\n", "\n", " WELLES\n", " (into phone)\n", " You're joking.\n", "\n", " MRS CHRISTIAN (V.O.)\n", " (from phone)\n", " To the penny. Exactly one million\n", " dollars in cash. \n", "\n", " Welles considers this, lost in thought.\n", "\n", " MRS CHRISTIAN (V.O.)\n", " Hello... ?\n", "\n", " WELLES\n", " I'm here.\n", "\n", " MRS CHRISTIAN (V.O.)\n", " Do you think the film could have\n", " cost that much?\n", "\n", " WELLES\n", " For a human life... murder on film,\n", " no statute of limitations. Who\n", " knows? It sure could have. I'd\n", " like you to overnight me a copy of\n", " those checks, then put them in a\n", " safe deposit box. \n", "\n", " MRS CHRISTIAN (V.O.)\n", " Okay.\n", "\n", " WELLES\n", " Send it to me through the post\n", " office like we arranged. No return\n", " address. You dug this up all by\n", " yourself?\n", "\n", " MRS CHRISTIAN (V.O.)\n", " You told me to look, so I looked.\n", "\n", " WELLES\n", " You're one hell of a detective, Mrs.\n", " Christian.\n", "\n", "\n", " EXT. MISSION YOUTH HOSTEL -- DAY\n", "\n", " TEENAGERS work cleaning this large DORMITORY, sweeping and\n", " mopping the floor, making the bunk beds, washing windows.\n", " Welles stands with an elderly, black NUN in plain clothing.\n", "\n", " WELLES\n", " Her name was Mary Anne Mathews.\n", "\n", " Welles hands the woman the PICTURE of MARY. The woman puts\n", " on her glasses, looks at the picture... looks at Welles.\n", "\n", " NUN\n", " Yes... I remember Mary\n", "\n", " WELLES\n", " You... you do? You're sure?\n", " Please, Sister, will you take\n", " another look, make sure... \n", "\n", " NUN \n", " (examines picture)\n", " Yes. I remember her.\n", "\n", " INT. MISSION YOUTH HOSTEL, STORAGE AREA -- DAY\n", "\n", " In a basement corner, Welles watches as the nun uses keys to\n", " open the door of a chain-link STORAGE CAGE. The cage is\n", " full of junk, BOXES, LAMPS, stacks of CHAIRS.\n", "\n", " NUN\n", " She lived here for only about a\n", " month, if I recall correctly. She\n", " didn't return one night. She never\n", " came back. I didn't know what to\n", " think...\n", "\n", " The nun enters the cage, pushes old BOXES out of her way,\n", " looks up a cob-web covered METAL SHELVES.\n", "\n", " NUN\n", " Do you know what happened to her?\n", "\n", " WELLES\n", " I'm trying to find out. She was a\n", " runaway. I'm looking into it for\n", " her parents.\n", "\n", " The nun sees what she wants, finds a STEP LADDER, tries to\n", " open it. Welles comes to help her.\n", "\n", " NUN\n", " (pointing on shelf)\n", " Can you get that down for me?\n", "\n", " Welles climbs the ladder, points at boxes...\n", "\n", " NUN\n", " No, the next shelf... there...\n", "\n", " Welles takes down a small SUITCASE. It's covered in dust.\n", " He climbs down the ladder with it.\n", "\n", " WELLES\n", " What is this?\n", "\n", " NUN\n", " Those are her belongings.\n", "\n", " WELLES\n", " Her belongings?\n", "\n", " NUN\n", " That's her suitcase. I had\n", " forgotten it, till you showed me\n", " her picture.\n", "\n", " Welles puts the suitcase down, examines the LUGGAGE TAG:\n", " \"Mary Anne Mathews,\" no address. Welles looks to the nun. \n", "\n", " WELLES\n", " Whatever possessed you to keep this\n", " all this time?\n", "\n", " NUN\n", " She was the kindest, sweetest girl\n", " you'd ever want to meet. Oh, I\n", " adored her. I supposed I always\n", " hoped she'd be back. After a time,\n", " all I could do was pray she had\n", " moved on to better things. Can you\n", " get this suitcase to her parents, if\n", " you think it's appropriate?\n", "\n", " WELLES\n", " I'll do what I can.\n", "\n", "\n", " INT. WELLES' ROOM -- NIGHT\n", "\n", " Welles puts Mary's SUITCASE on the bed, opens it. He takes\n", " out some of Mary's clothing, examines it, lays it aside.\n", "\n", " He takes out a ROSARY, more CLOTHING. Resting on a SWEATER\n", " are two CERAMIC FIGURINES; a teddy bear and kitten. Welles\n", " examines them, frowning, puts them aside.\n", "\n", " He takes out yellowed NEWSPAPER; Help Wanted CLASSIFIEDS,\n", " \"July 2, 1992.\" Several job possibilities circled, others\n", " crossed out. He finds baggie containing a few old JOINTS.\n", "\n", " All that's left are more items of CLOTHING, a TOOTHBRUSH and\n", " an ADDRESS BOOK. Welles examines the address book, finds a\n", " folded piece of paper in the blank pages, unfolds it... it's\n", " the TORN DIARY PAGE, a POEM written in Mary's hand...\n", "\n", " MARY'S VOICE (V.O.)\n", " (as Welles reads)\n", " \"Star light, star bright, First star\n", " I've seen tonight, Wish I may, wish\n", " I might, Have this wish I wish\n", " tonight.\"\n", "\n", " Welles goes to a drawer, takes out the photocopy of Mary's\n", " DIARY. He turns to the ragged edge of the torn page, puts\n", " the DIARY PAGE against it. Perfect match.\n", "\n", " Welles stands looking at the poem. He turns the page over,\n", " finds written, in cursive:\n", "\n", " Models Wanted 213-555-6643\n", "\n", "\n", " EXT. PHONE BOOTH -- DAY\n", "\n", " Welles dials the number off the back of the torn diary page,\n", " phone to his ear. It RINGS, RINGS, RINGS... \n", "\n", " MAN'S VOICE (V.O.) \n", " (from phone)\n", " Celebrity Films.\n", "\n", " Welles hangs up, begins searching the booth's YELLOW PAGES.\n", "\n", " EXT. WILSHIRE OFFICE BUILDING -- DAY\n", "\n", " A poverty stricken business section of Wilshire. Welles\n", " gets out of his parked car, looks up at a decaying Art Deco\n", " building that's painted blue top-to-bottom.\n", "\n", " Welles crosses through traffic.\n", "\n", " INT. WILSHIRE OFFICE BUILDING, LOBBY -- DAY\n", "\n", " Welles studies the REGISTRY, finds \"Celebrity Films.\"\n", "\n", " INT. WILSHIRE OFFICE BUILDING, STAIRWELL -- DAY\n", "\n", " Paint's peeling. Walls are water stained. Welles climbs\n", " stairs, winded, sweating, up the stairwell...\n", "\n", " INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- DAY\n", "\n", " Welles comes out a stairwell DOOR, catching his breath. A\n", " couple of SECRETARIES wait for the elevator. Welles moves\n", " down the hall, around a corner.\n", "\n", " Each office door has a window of pebbled, translucent glass.\n", " There's a \"Dental Office,\" \"Wilson Travel Cruises,\" and at\n", " the end of the hall, \"Celebrity Films Inc., Eddie Poole,\n", " Professional Casting and Distribution, Suite 804.\"\n", "\n", " Welles heads back the way he came.\n", "\n", " EXT. WILSHIRE OFFICE BUILDING -- DAY\n", "\n", " Welles crosses back to the other side of the street, goes to\n", " stand near his car. He looks up at the blue office\n", " building, counting up floors, counting windows across.\n", "\n", " Satisfied, he turns, backing up, looking up at the tall\n", " OFFICE BUILDING across from the blue building. There's a\n", " sign on this adjacent building, \"OFFICE SPACE AVAILABLE.\"\n", "\n", " INT. ADJACENT OFFICE, 9TH FLOOR -- DAY\n", "\n", " Empty office. Welles is let in by a disinterested LANDLORD.\n", " Welles gives a cursory look around, goes to the windows and\n", " opens the blinds.\n", "\n", " These windows afford an excellent view of the blue building\n", " across the street, at about 8th floor level.\n", "\n", " WELLES \n", " This is better. \n", " (turns to landlord) \n", " This will be fine.\n", "\n", "\n", " INT. ADJACENT OFFICE -- NIGHT\n", "\n", " Welles has transferred most of his belongings here, SUITCASE\n", " open on the floor, CARD TABLE set up with fast food on it,\n", " an ARMY COT against one wall. Welles sits in a chair at the\n", " window, looks through BINOCULARS on a TRIPOD.\n", "\n", " WELLES' P.O.V., THROUGH BINOCULARS: searching up the dark\n", " floors of the blue building, as Welles counts under his\n", " breath. Moving over... stopping on one window, FOCUSING...\n", "\n", " Welles locks the tripod. He goes to sit on the army cot,\n", " picks up his CELLULAR. He looks at the phone, deciding.\n", " He puts down the phone. He turns off the LAMP on the floor,\n", " lays back in the cot, going to sleep.\n", "\n", "\n", " INT. ADJACENT OFFICE -- DAY\n", "\n", " WELLES' P.O.V., THROUGH BINOCULARS: watching the window of\n", " Celebrity Films Inc. We can see most of the office from\n", " here. It's crowded with junk, BOXES, piles of VIDEO TAPES.\n", " There's a disorganized DESK by the window.\n", "\n", " Welles sits looking through the binoculars.\n", "\n", " THROUGH BINOCULARS: a pudgy man, EDDIE POOLE, in a loud,\n", " print shirt, comes to sit at the desk, looks through mail.\n", " He smells sleazy even from here, lots of jewelry, Lots of\n", " rings. He drinks coffee, answers the phone. He talks into\n", " the phone, looking for something on his desk, agitation\n", " growing, till he's shouting, then slams the phone down.\n", "\n", " Welles rises. He looks to the wall where THREE PHOTOGRAPHS\n", " culled from the snuff film are pinned up; the picture of\n", " Mary, the picture of Masked Man's tattooed hand, and...\n", "\n", " ... the grainy image of the Third Man in the mirror.\n", " Welles comes to study this third photo.\n", "\n", " FADE TO BLACK:\n", "\n", " INT. ADJACENT OFFICE -- DAY\n", "\n", " THROUGH BINOCULARS: Eddie packs VIDEO TAPES into a box,\n", " covering them with Styrofoam peanuts, sealing the box.\n", "\n", " FADE TO BLACK:\n", "\n", " INT. ADJACENT OFFICE -- DAY\n", "\n", " THROUGH BINOCULARS: Eddie finishes a call and hangs up. He\n", " sits back in his chair. He starts looking in his desk\n", " drawers, finds a MAGAZINE and opens it on the desk. It's\n", " porn. Eddie turns pages, looking at naked women. He sits\n", " back in his chair, begins unbuckling his belt.\n", "\n", " Welles pulls back from the binoculars in disgust. \n", "\n", " WELLES \n", " No thank you.\n", "\n", " FADE TO BLACK:\n", "\n", " INT. ADJACENT OFFICE -- NIGHT\n", "\n", " THROUGH BINOCULARS: Eddie's on the phone, pouring himself a\n", " drink from the liquor bottle on his desk, finishing the\n", " call, hanging up. He shakes his head in disgust, drinks the\n", " drink, walks out of view. After a moment, the lights go out.\n", "\n", " EXT. HOLLYWOOD HILLS -- NIGHT\n", "\n", " An old, dented CAR makes its way up the tight, twisting\n", " roads of the Hollywood Hills. Eddie's at the wheel. Not\n", " far behind, Welles' rental car follows...\n", "\n", " FURTHER ON\n", "\n", " Eddie's car pulls into the driveway under the porch of a\n", " ramshackle HOUSE, parks. Welles' car passes by...\n", "\n", " FURTHER, AROUND A CURVE\n", "\n", " Welles' car slows once it's out of sight, turns around,\n", " moving back down the hill, slowly...\n", "\n", " INT. WELLES' CAR -- CONTINUOUS\n", "\n", " Welles turns out his headlights, coming around the curve\n", " just far enough so the ramshackle house is in view. Welles\n", " watches Eddie walk up the stairs to the house.\n", "\n", " FADE TO BLACK:\n", "\n", " INT. ADJACENT OFFICE -- DAY\n", "\n", " THROUGH BINOCULARS: Eddie has a visitor. There's a pretty\n", " GIRL, wearing a tube top, in a chair facing his desk.\n", " Eddie's talking, gesticulating, smiling, cajoling.\n", "\n", " Welles watches through binoculars.\n", "\n", " THROUGH BINOCULARS: Eddie's still taking, stands, coming\n", " around the desk and placing a hand on the girl's shoulder.\n", " The girl says something. Eddie responds. The woman shakes\n", " her head, getting up to leave. Eddie seems to be asking her\n", " to stay, following as she moves out of view. Eddie comes\n", " back alone, sits at his desk, picks up the phone.\n", "\n", "\n", " INT. ESPIONAGE SHOP -- DAY\n", "\n", " Ultra high tech for sale. Welles examines items on the\n", " sales counter as the SALESPERSON watches: a pair of sma1l,\n", " round LISTENING DEVICES, a complicated RECEIVER/TAPE\n", " RECORDER, and a TONE DECODER with LED window.\n", "\n", " WELLES \n", " Okay, I'll take it all.\n", "\n", " SALESPERSON \n", " Excellent. we accept MasterCard and\n", " American Express.\n", "\n", " WELLES\n", " Cash.\n", "\n", " Welles takes out a thick wad, starts counting.\n", "\n", " SALESPERSON\n", " Alright.\n", " (at register) \n", " May I have your phone number, area\n", " code first?\n", "\n", " WELLES\n", " No, you may not.\n", "\n", " SALESPERSON\n", " Okay. Fine.\n", "\n", " Welles lays the money on the counter. The salesperson takes\n", " the money, recounting.\n", "\n", " SALESPERSON\n", " I'm required by state law to inform\n", " you that, while it's perfectly legal\n", " for you to purchase these items, it\n", " is illegal for you to use them for\n", " any sort of...\n", "\n", " WELLES\n", " Yeah, I know the spiel. If you\n", " could bag it, I'll be on my way,\n", " thank you.\n", "\n", " SALESPERSON\n", " Certainly, sir.\n", "\n", " The salesperson starts punching keys on the register.\n", "\n", "\n", " EXT. WILSHIRE OFFICE BUILDING -- NIGHT\n", "\n", " The blue building sits completely dark.\n", "\n", " INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- NIGHT\n", "\n", " Welles comes quietly out from the stairwell, wears gloves.\n", " He moves down the hall to the door of \"Celebrity Films Inc.\"\n", "\n", " He kneels, begins using LOCK-PICKING TOOLS on the door.\n", "\n", " INT. CELEBRITY FILMS OFFICE -- NIGHT\n", "\n", " Welles enters, shuts the door and locks it. He takes out\n", " his penlight. There are POSTERS for cheap PORN FILMS on the\n", " wall that we couldn't see through binoculars. Titles like\n", " \"Sex Doctor,\" \"Deep Ass,\" and \"Penal Colony.\"\n", "\n", " There a two FILE CABINETS. Welles pulls a few drawers,\n", " finds them locked. VIDEO CASSETTES are everywhere, on the\n", " cabinets, on shelves, piled high on the floor.\n", "\n", " Welles goes to Eddie's desk, looking in drawers. One drawer\n", " is full of X-RATED MAGAZINES. Another's stuffed with\n", " paperwork, call sheets, contracts.\n", "\n", " Welles picks up Eddie's phone, unscrews the earpiece. He\n", " takes the small, round LISTENING DEVICE from his pocket,\n", " peels off backing to expose adhesive. He attaches the\n", " listening device inside the phone, puts it back together.\n", "\n", " Welles moves towards the door, sweeps the room with the\n", " penlight. He stops at the file cabinets, takes his lock-\n", " picking tools out, begins working on one file's lock.\n", "\n", " He turns the lock, opens a file drawer. Empty. He opens\n", " another. Inside: piles of CHILD PORNOGRAPHY.\n", "\n", " Welles clenches his jaw.\n", "\n", " Faces of children. Shirtless boys. Girls in pigtails.\n", "\n", "\n", " INT. ADJACENT OFFICE -- DAY\n", "\n", " Welles' RECEIVER/TAPE RECORDER'S set up by the window,\n", " recording, with the TONE DECODER plugged into it. Welles\n", " LISTENS through HEADPHONE, looking through binoculars.\n", "\n", " EDDIE (V.O.)\n", " (through headphones)\n", " ... half a dozen. This is good\n", " stuff, Jimbo...\n", "\n", " THROUGH BINOCULARS: Eddie's at his desk, on the PHONE...\n", "\n", " EDDIE (V.O.)\n", " You know how my tapes sell. People\n", " eat this stuff up.\n", "\n", " MALE VOICE (V.O.)\n", " (from phone)\n", " I had three jerkoffs trying to\n", " return your tapes last month. Do\n", " you know how bad a skin flick has to\n", " be for some jackass to come back\n", " into my place with a fucking receipt,\n", " and try to fucking return it? \n", "\n", " EDDIE (V.O.)\n", " Maybe there's something wrong with\n", " the scumbag customers coming into\n", " your place, ever think of that?\n", "\n", " MALE VOICE (V.O.)\n", " The only thing wrong is the cheap,\n", " softcore crap you're peddling,\n", " Eddie. Where do you get this stuff?\n", "\n", " EDDIE (V.O.)\n", " Look, you cocksucker...\n", "\n", " MALE VOICE (V.O.)\n", " Get together some upscale product\n", " where the girls still have teeth in\n", " their head. Till then, fuck you.\n", "\n", " EDDIE (V.O.)\n", " Fuck you!\n", "\n", " THROUGH BINOCULARS: Eddie slams down the phone. He CANNOT\n", " BE HEARD any longer. He's cursing, shuffling paperwork.\n", "\n", " Welles takes off headphones, picks up his cellular phone.\n", " He drinks soda, opens the phone, dials, nervous, then looks\n", " back through the binoculars. He waits, clears his throat.\n", " The PHONE'S RINGING... RINGING...\n", "\n", " On the floor, the REELS of the tape recorder are TURNING...\n", "\n", " THROUGH BINOCULARS: Eddie answers the phone...\n", "\n", " EDDIE (V.O.)\n", " Celebrity Films.\n", "\n", " WELLES (V.O.)\n", " Eddie.\n", "\n", " EDDIE (V.O.)\n", " Yeah, who's this?\n", "\n", " WELLES (V.O.)\n", " I know what you did.\n", "\n", " EDDIE (V.O.)\n", " What?\n", "\n", " WELLES (V.O.)\n", " I know what you did.\n", "\n", " EDDIE (V.O.)\n", " Who is this.\n", "\n", " WELLES (V.O.)\n", " You murdered that girl, Eddie. Six\n", " years ago... \n", "\n", " EDDIE (V.O.)\n", " What the fuck are you.. ?\n", "\n", " WELLES (V.O.)\n", " You killed that girl and you put it\n", " on film. You and your pals, you're\n", " fucked. You fucked up real good.\n", "\n", " Welles hits disconnect, still looking through binoculars.\n", "\n", " THROUGH BINOCULARS: Eddie's slow to hang up the phone. He\n", " stands, looking down at the phone, frozen. Finally, he runs\n", " his hands through his hair, looks around the room, sits back\n", " down. He gets out his bottle and pours himself a drink.\n", "\n", " Welles watches through binoculars, puts headphones back on.\n", "\n", " WELLES\n", " Come on, Eddie...\n", "\n", " THROUGH BINOCULARS: Eddie sits motionless.\n", "\n", " WELLES (O.S.)\n", " ... come on...\n", "\n", " THROUGH BINOCULARS: Eddie picks up the phone, DIALS a\n", " NUMBER. We hear the PHONE RING in the HEADPHONES\n", "\n", " MAN'S VOICE (V.O.)\n", " (through headphones)\n", " ... Hello?\n", "\n", " EDDIE (V.O.)\n", " (through headphones)\n", " Dino, it's Eddie... Eddie Poole...\n", "\n", " DINO (V.O.)\n", " What do you want?\n", "\n", " EDDIE (V.O.)\n", " I just got a call... two seconds\n", " ago, some motherfucker called...\n", " says he knows about the loop.\n", "\n", " DINO (V.O.)\n", " What are you talking about?\n", "\n", " EDDIE (V.O.)\n", " The loop! The girl we did, what the\n", " fuck do you think I'm talking\n", " about?! This guy calls and says he\n", " knows about the fucking loop...\n", "\n", " DINO (V.O.)\n", " Bullshit.\n", "\n", " EDDIE (V.O.)\n", " I'm telling you... \n", "\n", " DINO (V.O.)\n", " Blow me, you paranoid fuck, that's\n", " impossible. Why are you bothering\n", " me with this... ?\n", "\n", " EDDIE (V.O.)\n", " Because somebody just fucking called\n", " me and fucking laid it out!\n", "\n", " DINO (V.O.)\n", " There's nothing there, you brain-\n", " dead cunt. Think about it. There's\n", " absolutely no way in this world to\n", " connect us to anything. I want you\n", " to hang the phone up, and if you\n", " call me about this again I'm going\n", " to send a friend of mine out there\n", " and have him crack you open with a\n", " fucking rib spreader.\n", "\n", " EDDIE (V.O.)\n", " Dino...\n", "\n", " DINO (V.O)\n", " Nobody knows anything.\n", "\n", " THROUGH BINOCULARS: as DINO is HEARD HANGING UP, Eddie\n", " reacts, picks up his phone and throws it across the office.\n", "\n", " Welles sits back, trying to accept the realization that he's\n", " found them. He looks to the PHOTO of the Third Man.\n", "\n", " WELLES\n", " That is you, isn't it, Eddie?\n", "\n", " Welles goes to the RECORDER, turns on the TONE DECODER. Its\n", " LED window LIGHTS UP. Welles hits STOP, REWIND, PLAY...\n", "\n", " WELLES VOICE (V.O.)\n", " (from recorder)\n", " ... and your pals, you're fucked...\n", "\n", " Hits FAST FORWARD... hits PLAY, watching the TONE DECODER.\n", " From the RECORDER, the SOUND of EDDIE DIALING a NUMBER on\n", " his touch tone phone... and as EACH TONE is HEARD, a\n", " corresponding NUMBER appears on the DECODER'S LED readout:\n", "\n", " ...1 212 555 9906...\n", "\n", " The recorder continues, REPLAYING the CONVERSATION between\n", " Eddie and Dino, while Welles studies the green LED digits.\n", "\n", " WELLES\n", " (quiet, to himself)\n", " Two one two.\n", "\n", "\n", " EXT. MANHATTAN CITYSCAPE -- ESTABLISHING -- NIGHT\n", "\n", " The brilliant lights of New York's peerless skyscrapers.\n", "\n", " EXT. 59TH STREET BRIDGE -- NIGHT\n", "\n", " FOLLOW Welles' Ford as it moves along with traffic, crossing\n", " the 59th Street Bridge, into the heart of Manhattan.\n", "\n", " EXT. BANK -- ESTABLISHING -- DAY\n", "\n", " \"Chase Manhattan Bank,\" mid-town.\n", "\n", " INT. CHASE MANHATTAN BANK, SAFE DEPOSIT BOOTH -- DAY\n", "\n", " Welles puts the 8MM FILM into SAFE DEPOSIT DRAWER, shuts it.\n", "\n", "\n", " INT. NY PUBLIC LIBRARY, REFERENCE -- DAY\n", "\n", " Busy and crowded, but quiet. Welles places a massive tome\n", " down on a table: \"Haines Criss-Cross Directory.\"\n", "\n", " Welles sits, takes out his notepad, referring to the phone\n", " number written: \"(212) 555-9906.\" He opens the reference\n", " book, searching pages...\n", "\n", " Thousands of TELEPHONE NUMBERS are LISTED in SEQUENCE, each\n", " with an address. Welles runs his finger down the page.\n", "\n", " EXT. SOHO STREETS -- DAY\n", "\n", " PEDESTRIANS everywhere. Streets are clogged with DELIVERY\n", " TRUCKS loading and unloading. Cars horns blow. Welles\n", " walks to an old, WAREHOUSE BUILDING shoulder to shoulder\n", " with other buildings, labeled \"1204\" in burnished steel.\n", "\n", " Welles climbs the stairs, examines the buzzers.\n", "\n", " The top button's labeled \"Greystone Imports,\" the bottom\n", " button reads \"Lang Interior Design, by appt.\" The middle\n", " button is labeled only by a drawing of a BLACK WIDOW SPIDER.\n", "\n", " Welles looks up at the building.\n", "\n", " EXT. 1204 WAREHOUSE, SOHO -- LATER DAY\n", "\n", " The sun is low. Less activity on the street. Welles leans\n", " against a car down the street, smoking a cigarette.\n", "\n", " TWO WOMEN walk this way, both in spiked high heels, dressed\n", " in cheap, short, formfitting skirts, both carrying duffel\n", " bags. They start up the stairs of 1204...\n", "\n", " Welles throws his cigarette, walks to follow.\n", "\n", " The women hit the center button. A BUZZER sounds as they\n", " head inside. Welles hurries up the stairs, catching the\n", " door before it closes.\n", "\n", " INT. 1204 WAREHOUSE, ELEVATOR -- DAY\n", "\n", " Welles follows the women into a decrepit ELEVATOR. One\n", " woman hits \"2.\" Welles hits \"3,\" steps back in the corner.\n", " Elevator doors creak closed. The two women are heavily made\n", " up, pretty, but worn, eyes dull.\n", "\n", " Welles looks down at the leg of one woman, noticing bruises\n", " through her fishnet stockings, poorly covered by make-up.\n", "\n", " Elevator doors open on the SECOND FLOOR. The two women get\n", " out and walk down a grey hallway, towards DOUBLE DOORS\n", " painted black. Welles stops the elevator door from closing.\n", "\n", " The women push the INTERCOM at the black doors. Another\n", " dull BUZZ is HEARD as the women enter. The low rumble of\n", " HEAVY METAL MUSIC is HEARD, SILENCED as doors swing shut.\n", "\n", " Welles lets the elevator close.\n", "\n", " EXT. 1204 WAREHOUSE -- DAY\n", "\n", " The elevator opens on the FIRST FLOOR. Welles gets out,\n", " instead of leaving the way he came, heads towards the\n", " rear... FOLLOW him down a hallway, past a SERVICE ELEVATOR...\n", "\n", " EXT. 1204 WAREHOUSE -- DAY\n", "\n", " Welles comes out BACK DOORS into an sunless alleyway with\n", " fire escapes above. There's a TRASH DUMPSTER, overflowing.\n", " Rats scatter upon Welles, arrival.\n", "\n", " Welles looks to make sure he's alone. He starts tearing\n", " open GARBAGE BAGS. Flies swarm. One bag's filled with\n", " empty food containers and old newspapers.\n", "\n", " Welles tears open another bag, finds burnt out FLORESCENT\n", " LIGHTBULBS, digs out a handful of empty PHOTO PAPER\n", " PACKAGES, bottles of DEVELOPING CHEMICALS. He pulls out a\n", " few MAGAZINES; Time, Newsweek, etc...\n", "\n", " The magazines are cut up, falling apart, with pictures\n", " chopped out from many pages. Welles examines ADDRESS LABELS:\n", "\n", " \"Dino Velvet/D.V. Films\n", " 1204 Keller Street\n", " New York, NY 10049\"\n", "\n", " INT. PHONE BOOTH, NYC STREETS -- NIGHT\n", "\n", " Welles is on the PHONE. The city bustles past.\n", "\n", " WELLES\n", " (into phone)\n", " What do you know about a guy called\n", " Dino Velvet? Dino Velvet Films?\n", "\n", " INT. ADULT BOOKSTORE -- DAY -- INTERCUT\n", "\n", " Max is on the phone by the register, ringing purchases.\n", "\n", " MAX\n", " (into phone)\n", " Dino Velvet... yeah, he's like the\n", " John Luc Godard of S+M flicks,\n", " supposed to be a real weirdo.\n", "\n", " WELLES (V.O.)\n", " (from phone)\n", " A weirdo making S+M films? Who'd\n", " have thought it?\n", "\n", " MAX\n", " (into phone)\n", " His stuff comes out of New York.\n", " Bondage and fetish videos, Gothic\n", " Hardcore. Definitely not for the\n", " squeamish.\n", "\n", " WELLES (V.O.)\n", " Specialty product.\n", "\n", " MAX\n", " You're learning.\n", "\n", " WELLES (V.O.)\n", " Where does he sell it?\n", "\n", " MAX\n", " Out of the back of bondage magazines\n", " mostly, but you can find it on the\n", " street if you look. He'll also do\n", " commissions, for enough money...\n", "\n", " INT. PHONE BOOTH -- DAY -- CONTINUOUS\n", "\n", " MAX (V.O.)\n", " (from phone)\n", " Nothing illegal, it's always\n", " borderline. Like if some freak\n", " wants to see a transvestite in a\n", " full rubber immersion suit getting\n", " an enema from a...\n", "\n", " WELLES\n", " (into phone)\n", " Alright, I get the picture.\n", "\n", " MAX (V.O.)\n", " He cuts all kinds of other stuff\n", " into his movies; photographs,\n", " newsreel footage, subliminal images.\n", " Thinks he's making art.\n", "\n", " WELLES \n", " Well, I'm in New York now. What do\n", " you say to flying out and giving me\n", " a hand?\n", "\n", " MAX (V.O.)\n", " I'm a working stiff, pops.\n", "\n", " WELLES\n", " Take a vacation. I'll pay you four\n", " hundred a day, plus expenses.\n", "\n", " MAX (V.O.)\n", " You want me to come out there and\n", " play private eye?\n", "\n", " WELLES\n", " Consider it. Meanwhile, dig up\n", " whatever Dino Velvet films you can.\n", " Get receipts. I'll call back.\n", "\n", " MAX (V.O.)\n", " See ya.\n", "\n", " Welles hangs up, starts feeding quarters into the phone.\n", "\n", " INT. MRS. CHRISTIAN'S BEDROOM -- NIGHT -- CONTINUOUS\n", "\n", " Mrs. Christian's in bed, pale and sickly. The PHONE RINGS.\n", " Mrs. Christian reaches for it.\n", "\n", " MRS CHRISTIAN\n", " (into phone, weakly)\n", " Hello?\n", "\n", " WELLES (V.O.)\n", " (from phone)\n", " Mrs. Christian, Tom Welles here.\n", "\n", " MRS CHRISTIAN\n", " (coughing)\n", " How are you? Having any luck?\n", "\n", " WELLES (V.O.)\n", " I don't know if luck's the word.\n", " Are you feeling alright?\n", "\n", " MRS CHRISTIAN\n", " I've been ordered into bed. The\n", " doctor says I've gotten the flu, or\n", " some other wretched ailment.\n", "\n", " WELLES (V.O.)\n", " I hope it's nothing serious.\n", "\n", " MRS CHRISTIAN\n", " Nothing more than a bother. Have\n", " you any news for me?\n", "\n", " INT. PHONE BOOTH -- DAY -- CONTINUOUS\n", "\n", " WELLES\n", " (into phone)\n", " I've made progress. I'm in\n", " Manhattan. Once a few more pieces\n", " fall into place, I'll drive to you\n", " and give you an update.\n", "\n", " MRS CHRISTIAN (V.O.)\n", " (from phone)\n", " Fine...\n", "\n", " MRS. CHRISTIAN is HEARD COUGHING. Welles waits.\n", "\n", " WELLES\n", " I've got about five thousand left in\n", " cash, but I'll need another thirty,\n", " if you approve.\n", "\n", " MRS CHRISTIAN\n", " How will I get it to you?\n", "\n", " WELLES\n", " If you have a pencil and paper, I'll\n", " tell you how to send it.\n", "\n", "\n", " EXT. MOTEL, HELL'S KITCHEN -- NIGHT\n", "\n", " A TAXI pulls over in front of this flea-bag motel. Max gets\n", " out with a SUITCASE, looks at the dubious accommodations.\n", "\n", " INT. MOTEL, MAX'S ROOM -- NIGHT\n", "\n", " Max enters with Welles, turns on a light and throws his\n", " suitcase on the bed. The room is disgusting.\n", "\n", " MAX\n", " You didn't say it was gonna be this\n", " luxurious.\n", "\n", " WELLES\n", " It's their Presidential Suite.\n", "\n", " MAX\n", " Great.\n", "\n", " Max looks in the bathroom.\n", "\n", " MAX\n", " Oh, come on, man, what are we doing\n", " in this flea bag?\n", "\n", " WELLES\n", " It's cheap, and people know to mind\n", " their own business. What have you\n", " got for me? \n", "\n", " Max opens his suitcase, takes out THREE VIDEO TAPES.\n", "\n", " He hands them to Welles. The boxes are covered in jumbled\n", " PHOTO COLLAGES: American flag, S+M men and women, a skull,\n", " mannequins, a scorpion, cut-outs of arms, legs and eyeballs.\n", "\n", " MAX\n", " Dino Velvet.\n", "\n", " INT. WELLES' MOTEL ROOM -- NIGHT\n", "\n", " Welles is lit by the flicker from the TELEVISION SCREEN. WE\n", " SEE NOTHING. We HEAR the rhythmic MUFFLED MOANS of a WOMAN\n", " from the TV, can't tell if it's pleasure or pain.\n", "\n", " Max is asleep in the bed, PIZZA BOX near his feet.\n", "\n", " Welles drinks beer, gets up and ejects the CASSETTE from a\n", " VCR, tosses it aside, tired. He picks another Dino Velvet\n", " TAPE, puts it in, sits.\n", "\n", " ON TV: GOTHIC ROCK is HEARD over old, scratchy IMAGES: of\n", " Klansmen around a burning cross... Dracula menacing a\n", " sleeping woman... a man in a Devil costume dancing...\n", "\n", " Welles opens another beer.\n", "\n", " ON TV: a WOMAN is tied up, arms in the air, hanging from the\n", " ceiling, gagged and blindfolded, in a dungeon lit by\n", " candelabras. Then, glimpsed IMAGES: worms writhing in\n", " slime... gargoyles... a guillotine falling. Then, the bound\n", " woman, struggling. A MASKED MAN in a leather jacket enters.\n", " He wears a LEATHER MASK with zipper eyes and mouth...\n", "\n", " This focuses Welles' attention.\n", "\n", " ON TV: the Masked Man circles the captured woman...\n", "\n", " WELLES\n", " Max... wake up...\n", "\n", " Max awakens, rolling over, groggy.\n", "\n", " MAX\n", " Wha... ?\n", "\n", " WELLES\n", " (points at TV)\n", " Who is this, in the mask? Who is he?\n", "\n", " Max tries to see, eyes barely open.\n", "\n", " MAX\n", " He's one of the lunatics Dino uses.\n", " He's in a bunch of these.\n", "\n", " Welles watches. On the TV, Masked Man takes off his jacket\n", " shirtless, reveals an impossibly muscled body. Huge arms,\n", " thick chest, oiled, dotted in pimples. \n", "\n", " MAX\n", " Why? He have something to do with\n", " whatever you're into?\n", "\n", " Still watching the behemoth on TV, Welles is less sure.\n", "\n", " ON TV: the bulging Masked Man flexes, ripped.\n", "\n", " WELLES\n", " No... it's nothing... that's not him.\n", "\n", " Welles rubs his eyes, sits back. Max sits up, watching.\n", "\n", " ON TV: Masked Man pulls the bound woman's head back by her\n", " hair, licks her face with his thick tongue...\n", "\n", " CLOSE ON: Masked Man grips the woman's head, still licking.\n", " He pulls down the woman's blindfold...\n", "\n", " Welles sits forward, realizing, horrified...\n", "\n", " Welles goes to the VCR, hits PAUSE. The IMAGE on TV\n", " FREEZES. Welles goes back, FRAME by FRAME...\n", "\n", " ... to the CLOSE UP where Masked Man grips the woman's face.\n", " FREEZE FRAME. On Masked Man's hand: a TATTOO, on the arch\n", " between his forefinger and thumb, same as the scrawny Masked\n", " Man in the snuff film. A PENTAGRAM TATTOO.\n", "\n", " WELLES\n", " Who is he?\n", "\n", " MAX\n", " I told you, he's one of Dino\n", " Velvet's stock players...\n", "\n", " WELLES\n", " Who is he, his name?\n", "\n", " MAX\n", " Nobody knows his name. That's his\n", " thing. He always wears a mask. You\n", " never see his face. He calls\n", " himself \"Machine,\" that's what they\n", " call him. Machine. \n", "\n", " Welles hits PLAY. On TV, Masked Man runs his hands up and\n", " down the woman's body. The woman's eyes are filled with\n", " fear. Welles sits, unnerved, watching.\n", "\n", " MAX\n", " They say he's half brain-dead from\n", " all the steroids he's using.\n", "\n", " Max rolls over, trying to get back to sleep.\n", "\n", " MAX\n", " He's a brutal motherfucker, man. He\n", " loves what he does for a living. \n", "\n", "\n", " INT. WELLES' MOTEL ROOM -- DAY\n", "\n", " Welles enters, carries an OVERNIGHT PACKAGE and his LOCK\n", " BOX. At the desk, he tears open the package, opens the\n", " MANILA ENVELOPE inside; finds FIFTY THOUSAND DOLLARS in\n", " thousand dollar bills, wrapped in plastic and masking tape.\n", "\n", " Welles takes the lock box to the bed and works the\n", " combination, opens it. He takes out the holster, stands\n", " looking down at the gun. He puts the holster on.\n", "\n", "\n", " EXT. 1204 WAREHOUSE -- DAY\n", "\n", " Welles' Ford waits with turn signal on. A car pulls out of\n", " a parking space. Welles takes the space.\n", "\n", " INT. WELLES' CAR -- DAY\n", "\n", " Max is in the passenger seat. Welles looks to 1204.\n", "\n", " WELLES\n", " You don't need to be here.\n", "\n", " MAX\n", " What kind of Junior P.I. would I be\n", " if I didn't go with you?\n", "\n", " INT. 1204 WAREHOUSE, SECOND FLOOR -- DAY\n", "\n", " Welles and Max get off the elevator, moving down the grey\n", " hall, to the black doors. Welles pushes the INTERCOM\n", " BUTTON. After a moment, the INTERCOM CRACKLES...\n", "\n", " MAN'S VOICE (V.O.)\n", " (from intercom)\n", " Who is it?\n", "\n", " Welles waits, presses the button again.\n", "\n", " INT. DINO VELVET STUDIO -- DAY\n", "\n", " The doors BUZZ and Welles and Max warily enter this large,\n", " dark, converted warehouse. Square pillars shoot from floor\n", " to ceiling. Shafts of light cut down from high windows.\n", "\n", " A large THUG in a pinstripe suit crosses from a far DESK.\n", "\n", " THUG\n", " You're in the wrong place.\n", "\n", " WELLES\n", " We're looking for Mr. Velvet.\n", "\n", " THUG\n", " He's not here. \n", "\n", " Welles looks around, at piles of PROPS; a huge faux-stone\n", " ANGEL and GARGOYLES, elaborate CANDELABRAS, a huge BIRDCAGE,\n", " massive WOODEN CROSS, NAZI FLAGS.\n", "\n", " WELLES\n", " Why don't you tell him we're here to\n", " give him a large sum of money. If\n", " he's not interested, we'll go.\n", "\n", " THUG\n", " You should leave now, before I have\n", " to remove you.\n", "\n", " Welles just stands looking at the thug. A VOICE is HEARD...\n", "\n", " DINO VELVET'S VOICE (V.O.)\n", " (from SPEAKERS)\n", " Show them in, Milo.\n", "\n", " Welles and Max look up. There are SPEAKERS mounted high up\n", " on the pillars, and SURVEILLANCE CAMERAS looking down.\n", "\n", " WELLES\n", " You heard the boss, Milo.\n", "\n", " The disgruntled thug starts back across the studio towards\n", " a distant DOOR. Welles and Max follow...\n", "\n", " They notice an elaborate set built in one corner, a TORTURE\n", " CHAMBER, complete with RACK and IRON MAIDEN.\n", "\n", " INT. DINO VELVET'S OFFICE -- DAY\n", "\n", " Thug opens the door and lets Welles and Max in.\n", " The office is huge, windowless walls covered in thousands of\n", " PICTURES from every conceivable source, torn and cut, pinned\n", " up to form an indecipherable collage. A tall LADDER leans\n", " against one wall, near three TELEVISIONS.\n", "\n", " DINO VELVET rises behind his desk, a small, bird-like man,\n", " wearing a black suit and bad hairpiece.\n", "\n", " DINO VELVET\n", " Come in. Make yourself comfortable.\n", "\n", " Welles shakes Dino's hand. Max looks up at the walls.\n", " IMAGES; porn pictures, news photos, world leaders, autopsy\n", " photos, armies and insects, the naked and the dead.\n", "\n", " WELLES\n", " It's an honor to meet you. Thank\n", " you for seeing us.\n", "\n", " DINO VELVET\n", " What can I do for you today?\n", "\n", " Welles sits. Shelves behind Dino's desk are piled high with\n", " VIDEO CASSETTES, old MOVIE CAMERAS, big REELS of 16mm FILM.\n", " VIDEOS and MAGAZINES are stacked everywhere.\n", "\n", " WELLES\n", " I'd like to commission a work. I'm\n", " a great admirer of yours.\n", "\n", " DINO VELVET\n", " Flattering. And, who's your\n", " colorful little chum?\n", "\n", " WELLES\n", " A fellow investor.\n", "\n", " DINO VELVET\n", " Hmm.\n", "\n", " MAX\n", " You're the only one still shooting\n", " film and transferring it to video.\n", " Nobody appreciates that kind of\n", " integrity anymore... the grain, the\n", " gritty look you get.\n", "\n", " DINO VELVET\n", " Well, I'm glad you appreciate it.\n", " (to Welles)\n", " What would you say is your favorite\n", " piece?\n", "\n", " Welles considers. Max glances over, looks back to the walls.\n", "\n", " MAX\n", " I know if I had to pick, it'd be\n", " \"Choke,\" or \"Devil.\"\n", "\n", " WELLES\n", " \"Devil\" frightened me as much as it\n", " excited me, but I'd be hard pressed\n", " to choose a favorite.\n", "\n", " Dino grins, showing yellowed teeth.\n", "\n", " DINO VELVET\n", " You said something about money.\n", "\n", " WELLES\n", " Yes. What we're looking for is\n", " rather specific.\n", "\n", " Welles takes out an ENVELOPE, puts it on the desk.\n", "\n", " WELLES\n", " That's five thousand dollars.\n", "\n", " DINO VELVET\n", " Is it?\n", "\n", " WELLES\n", " Five thousand now, five thousand on\n", " delivery. \n", " Two women, one white and one black,\n", " as long as they have large breasts.\n", " Hard bondage, or course. Other than\n", " that, trusting your artistic\n", " interpretation, I have only two\n", " stipulations.\n", "\n", " DINO VELVET\n", " And they are?\n", "\n", " WELLES\n", " I want to watch you work.\n", "\n", " DINO VELVET\n", " I'll consider it.\n", "\n", " WELLES\n", " And the other performer... it has to\n", " be that monster you use... the man\n", " in the mask.\n", "\n", " DINO VELVET\n", " Machine.\n", "\n", " WELLES\n", " If it's not him, there's no deal.\n", "\n", " Dino drums his painted fingernails on his lips.\n", "\n", " DINO VELVET\n", " He might be interested... but it\n", " would mean another five thousand.\n", "\n", " WELLES\n", " We can do that.\n", "\n", " DINO VELVET\n", " Well, well, I'll have to put my\n", " thinking-cap on about all this.\n", " You'll leave the money as a deposit?\n", " (off Welles' nod)\n", " Very good.\n", "\n", " Dino stands, picks up a still CAMERA off his desk and comes\n", " to look at Welles, studying him.\n", "\n", " DINO VELVET\n", " You have a beautiful face... the way\n", " the light hits it. I'd like to take\n", " your picture. You don't mind?\n", "\n", " WELLES\n", " I'd rather you didn't.\n", "\n", " DINO VELVET\n", " What's the problem? \n", "\n", " WELLES\n", " I'm camera shy.\n", "\n", " DINO VELVET\n", " You trust me to keep your money, but\n", " not to take your picture?\n", "\n", " WELLES\n", " Those are two different kinds of\n", " trust.\n", " (stands)\n", " Thank you for your time. I hope we\n", " can do business.\n", "\n", " Welles leaves. Max goes with him. Dino watches them leave.\n", "\n", "\n", " EXT. MANHATTAN STREET -- NIGHT\n", "\n", " HORNS BLARE. TWO CARS have collided head-on. A large CROWD\n", " gathers. One windshield's shattered, blood spattered. The\n", " driver is slumped over the wheel, gushing blood.\n", "\n", " On a nearby street corner, Welles in on a PAY PHONE.\n", " HEAVY METAL can be HEARD filtered through the receiver.\n", "\n", " WELLES\n", " (into phone)\n", " So, what do you say?\n", "\n", " INT. DINO VELVET'S OFFICE -- NIGHT -- CONTINUOUS\n", "\n", " Dino's stands in the middle of his office, naked, his back\n", " to us, 8MM camera in hand, on the phone. A NAKED WOMAN\n", " dances for Dino. A Heavy Metal MUSIC VIDEO plays on a TV.\n", "\n", " DINO VELVET\n", " (into phone)\n", " I'll do this for you. Fifteen\n", " thousand dollars.\n", "\n", " WELLES (V.O.)\n", " (from phone)\n", " Machine's in?\n", "\n", " DINO VELVET\n", " (into phone)\n", " He's in. It will be his pleasure.\n", "\n", " INT. PHONE BOOTH -- NIGHT -- CONTINUOUS\n", "\n", " DINO VELVET (V.O.)\n", " (from phone)\n", " Be at 366 Hoyt Avenue, three\n", " o'clock, tomorrow.\n", "\n", " Welles digs out his notepad, writing. \n", "\n", " WELLES\n", " (into phone)\n", " Where's that?\n", "\n", " DINO VELVET (V.O.)\n", " Brooklyn. Don't be late.\n", "\n", "\n", " EXT. MOTEL COURTYARD, POOL -- NIGHT\n", "\n", " HORNS and TRAFFIC are HEARD. Max and Welles sit in lawn\n", " chairs at the tiny pool. Welles smokes. Max drinks beer.\n", " They watch an ELDERLY WOMAN in a one piece bathing suit\n", " climb from the pool and walk to the diving board, diving in.\n", "\n", " MAX\n", " What's next?\n", "\n", " WELLES\n", " I'm trying to figure that out\n", " myself. I have to see Machine\n", " without his mask.\n", "\n", " MAX\n", " Still don't want to tell me what\n", " you're doing?\n", "\n", " WELLES\n", " Nope.\n", "\n", " The old woman climbs out and heads back to the diving board.\n", " Welles takes out a thick ENVELOPE, hands it to Max.\n", "\n", " WELLES\n", " This is for you.\n", "\n", " Max doesn't understand, opens the envelope, finds about\n", " fifteen thousand dollars in the envelope.\n", "\n", " MAX\n", " What's this?\n", "\n", " WELLES\n", " It's money. People use it to\n", " purchase goods and services.\n", "\n", " Max looks at it again, can't believe it.\n", "\n", " MAX\n", " Look... that's awful generous and\n", " everything...\n", "\n", " WELLES\n", " It's not my money. The woman I got\n", " it from is never going to give it a\n", " second thought. Let's not make a\n", " big deal out of this, okay? \n", " (pause)\n", " Go be a race car driver. Go run for\n", " President. Whatever.\n", "\n", " Welles puts his cigarette out, stands.\n", "\n", " WELLES\n", " I'll see you around.\n", "\n", " Welles walks away, heading to his room. Max watches him go,\n", " doesn't know what to say, looks in the envelope.\n", "\n", " The old woman climbs out and heads back to the diving board.\n", "\n", "\n", " EXT. BROOKLYN STREETS -- DAY\n", "\n", " A deserted, war zone neighborhood of abandoned, graffittied\n", " buildings. A few burnt out cars on the street. Welles\n", " drives through, watchful.\n", "\n", " Welles drives past a huge TWO-STORY WAREHOUSE, does a u-turn.\n", " He parks the car.\n", "\n", " INT. WELLES' CAR -- DAY\n", "\n", " Welles checks his gun, returns it to his holster.\n", "\n", " EXT. BROOKLYN WAREHOUSE -- DAY\n", "\n", " Welles climbs crumbling concrete stairs, looking all\n", " directions, crossing a LOADING DOCK towards a DOOR...\n", "\n", " INT. BROOKLYN WAREHOUSE -- DAY\n", "\n", " Welles enters slowly, trying to get his eyes to adjust to\n", " the darkness. A vast, empty space looms before him.\n", "\n", " In the middle of the warehouse, Dino Velvet stands, in a\n", " powder blue suit, holding an archery BOW and ARROW.\n", "\n", " DINO VELVET\n", " There you are. Come join us.\n", "\n", " There's a wrought IRON BED not far from Dino. MACHINE is\n", " seated on the mattress, a huge man, wearing a leather S+M\n", " harness and the same WRESTLING MASK as in the snuff film.\n", "\n", " Welles gathers his courage, walks towards them.\n", "\n", " Dino pulls back on the bow, aiming away across the\n", " warehouse. He stands by a TABLE with a QUIVER of ARROWS\n", " propped up. He shoots an arrow toward a large TARGET...\n", "\n", " Strikes the target dead center, BULL'S-EYE. As Welles gets\n", " closer, he notices several things ... \n", "\n", " ... a 16MM CAMERA mounted on a TRIPOD, facing the bed, along\n", " with several movie LIGHTS\n", "\n", " ... several BOWIE KNIFES are laid out on the table, beside\n", " a pair of HANDCUFFS...\n", "\n", " ... Machine is watching him as he approaches...\n", "\n", " Welles stops, not far from Dino and Machine, but keeping his\n", " distance. Dino's still firing arrows at the target.\n", " Machine's still staring at Welles.\n", "\n", " WELLES\n", " (to Machine)\n", " Hello.\n", "\n", " Machine just stares at him with bloodshot eyes.\n", "\n", " DINO VELVET\n", " You brought the money?\n", "\n", " WELLES\n", " (takes out envelope)\n", " Right here.\n", "\n", " Dino lets fly another arrow... another bull's-eye, then\n", " turns to look at Welles with a smile.\n", "\n", " DINO VELVET\n", " Excellent.\n", "\n", " WELLES\n", " Where are the women?\n", "\n", " DINO VELVET\n", " They should be here any minute.\n", "\n", " Welles comes forward slowly, places the envelope on the\n", " table, beside Bowie knifes. He's sweating.\n", "\n", " WELLES\n", " (of the knifes)\n", " What are these for?\n", "\n", " DINO VELVET\n", " Hmm? Oh, the knifes? They're just\n", " props. Nice, aren't they?\n", "\n", " WELLES\n", " Sure.\n", "\n", " Dino walks across towards the target.\n", "\n", " DINO VELVET\n", " Machine and I were just talking\n", " about knifes. The beauty of\n", " knifes...\n", "\n", " Dino pulls arrows from the target.\n", "\n", " DINO VELVET\n", " He was saying how fascinated he is\n", " by their simple ability to be sharp.\n", " The ability of a piece of metal to\n", " be so thin that it is almost\n", " nothing...\n", "\n", " Dino walks back to the table, replaces the arrows in the\n", " quiver, cueing another arrow in is bow.\n", "\n", " DINO VELVET\n", " So close to nothingness that it cuts\n", " with minimum effort, because it's so\n", " non-intrusive. Flesh is fooled. It\n", " blooms open as the blade widens, but\n", " by then it's too late, because the\n", " knife's already doing its pure,\n", " simple damage.\n", "\n", " Dino shoots another arrow to the target.\n", " A CLATTER attracts Welles attention. Far across the\n", " warehouse, a DELIVERY DOOR rolls upwards. A CAR with tinted\n", " windows drives in...\n", "\n", " The MAN who opened the door, silhouetted in sunlight, stays\n", " behind to close the door as the car pulls forward...\n", "\n", " DINO VELVET\n", " Ah, ours guests have arrived.\n", "\n", " Machine stands. He is a giant.\n", " Welles takes a few steps back, wary, sweating hard now.\n", "\n", " The car parks across the warehouse, not far from the target.\n", "\n", " Dino puts another arrow in his bow, pulls it taunt, aims at\n", " the target... turns, aims the arrow at Welles.\n", "\n", " DINO VELVET\n", " Mister Welles... would you be so\n", " kind as to remove any firearms from\n", " your person?\n", "\n", " WELLES\n", " What are you... ?\n", "\n", " DINO VELVET\n", " Take out your gun!\n", "\n", " Welles brings his hand towards his holster...\n", "\n", " DINO VELVET\n", " Slowly. Let me see it.\n", "\n", " Welles takes out his gun, looks across the warehouse...\n", "\n", " The SILHOUETTED MAN is walking this way. Can't tell who he\n", " is yet. Machine heads the direction of the parked car.\n", "\n", " DINO VELVET\n", " Empty the gun onto the table, very\n", " carefully.\n", "\n", " WELLES\n", " Look, I don't know what this...\n", "\n", " DINO VELVET\n", " Shut up, cunt! Do exactly as I say,\n", " or I'll put this arrow through your\n", " throat.\n", "\n", " Welles obeys, helpless, dumps the bullets out on the table.\n", "\n", " The SILHOUETTED MAN'S getting closer. It's Eddie Poole.\n", "\n", " EDDIE\n", " Is that him?\n", "\n", " DINO VELVET\n", " (to Welles)\n", " Put the gun down, take the\n", " handcuffs. Handcuff yourself to the\n", " bed.\n", "\n", " Welles obeys, walks to the bed.\n", " Welles attaches one cuff to the bed's iron rail, fastens the\n", " other cuff around his wrist. Dino puts down the bow and arrow.\n", "\n", " DINO VELVET\n", " (still to Welles)\n", " Didn't know what to make of you at\n", " first, and you certainly had Eddie\n", " on pins and needles. But, lo and\n", " behold, from out of the blue came an\n", " old business acquaintance to explain\n", " everything...\n", "\n", " Welles looks across to the car...\n", " The sinister lawyer, Longdale, gets out from behind the\n", " wheel and hands the keys to Machine, walks this way...\n", "\n", " EDDIE\n", " This is the fucker? Motherfucker,\n", " doesn't look like anything...\n", "\n", " Eddie walks around the bed, studies Welles. Welles watches\n", " him. Eddie goes to stand behind Welles, rushes forward...\n", "\n", " PUNCHES Welles in the side of the head.\n", " Welles goes down, clutching his face.\n", "\n", " EDDIE\n", " Doesn't look like shit.\n", "\n", " Eddie pulls Welles to his feet, throws him against the bed,\n", " frisking him from head to toe.\n", "\n", " Longdale comes to stand beside Dino, nervous, taking out a\n", " tiny HANDGUN and pointing it at Welles. Welles looks up,\n", " holding his head, afraid, sits on the bed.\n", "\n", " DINO VELVET\n", " (to Welles)\n", " You remember Mr. Longdale, don't you?\n", "\n", " WELLES\n", " I remember him.\n", "\n", " LONGDALE\n", " Let's get this over with.\n", "\n", " DINO VELVET\n", " Fine idea.\n", "\n", " Dino comes to sit on the bed beside Welles.\n", "\n", " DINO VELVET\n", " You're going to go get the film you\n", " received from Mrs. Christian, bring\n", " it here and put it in my hand. And\n", " to save time, so we make this as\n", " efficient as possible, there's an\n", " incentive...\n", "\n", " Dino puts his fingers in his mouth, lets out a sharp WHISTLE.\n", "\n", " Across the warehouse, Machine uses the car keys to open the\n", " trunk of the car, pulls SOMEONE out...\n", "\n", " It's Max, beaten bloody, bound, face swollen, gagged, hardly\n", " conscious. Machine throws him to the floor.\n", "\n", " WELLES\n", " No...\n", "\n", " Welles tries to go towards Max, yanked back by the\n", " handcuffs, pulls the bed a few inches, but it's heavy.\n", "\n", " DINO VELVET\n", " Friend of yours?\n", "\n", " WELLES\n", " Look, he's got nothing to do with\n", " this... let him go...\n", "\n", " DINO VELVET\n", " Can you guess what I'm going to say\n", " next?\n", "\n", " WELLES\n", " He doesn't know anything... he's got\n", " nothing to do with this...\n", "\n", " DINO VELVET\n", " Bring the film, or we kill him.\n", "\n", " Sorrow and rage rises up in Welles, but there's no choice.\n", "\n", " WELLES\n", " I'll get it. It's in a safe deposit\n", " box, in the city...\n", "\n", " DINO VELVET\n", " How cooperative. Longdale will keep\n", " you company.\n", "\n", " Dino takes out HANDCUFF KEYS, throws them to Longdale.\n", " Longdale approaches Welles carefully, unlocking him.\n", "\n", " DINO VELVET\n", " Don't let Longdale's questionable\n", " choice of weapon give you any ideas.\n", " If his fey little gun puts enough\n", " little holes in you, you'll be just\n", " as dead... and so will Max.\n", "\n", " EDDIE\n", " Move it, dirtbag... !\n", "\n", " Eddie comes to SHOVE Welles. Welles stumbles to the\n", " ground, gets to his feet. Welles walks, takes one last\n", " glance back towards Max. Longdale follows.\n", "\n", " DINO VELVET\n", " (watching them go)\n", " Do hurry.\n", "\n", "\n", " EXT. MANHATTAN STREETS -- DAY\n", "\n", " Welles' car moves in the slow flow of traffic into mid-town.\n", "\n", " INT. WELLES' CAR -- CONTINUOUS\n", "\n", " Welles is at the wheel. Longdale is in the passenger seat,\n", " gun held in his lap.\n", "\n", " WELLES\n", " You were the middleman, am I right?\n", " Old man Christian wasn't about to go\n", " shopping for a snuff film himself.\n", "\n", " LONGDALE\n", " Wouldn't exactly have been possible\n", " for a man of his stature.\n", "\n", " WELLES\n", " So, he sent you, gave you the money,\n", " his errand-boy. And if you refused,\n", " it wasn't like you could tell anyone\n", " your pervert boss just asked you to\n", " get him a snuff film. That's the\n", " beauty of lawyer/client privilege.\n", "\n", " LONGDALE\n", " That's trust. Mr. Christian trusted\n", " me implicitly.\n", "\n", " WELLES\n", " Must have paid you a lot, for you to\n", " risk everything. Would've had to\n", " have cut yourself a real nice piece\n", " of money.\n", "\n", " LONGDALE\n", " I was well compensated.\n", "\n", " WELLES\n", " That's why you got scared when Mrs.\n", " Christian hired me. You knew about\n", " the film, figured it had to be in\n", " that safe. How'd you find me?\n", "\n", " LONGDALE\n", " Never mind how I found you.\n", "\n", " WELLES\n", " Followed me... must have freaked out\n", " when you saw me closing in on your\n", " buddies...\n", "\n", " LONGDALE\n", " They're no friends of mine.\n", "\n", " WELLES\n", " Except, you're willing commit murder\n", " with them.\n", "\n", " LONGDALE\n", " None of this would be happening if\n", " you would have left it alone. If\n", " you weren't digging up a girl who\n", " died six years ago. A girl no one\n", " even remembers.\n", "\n", " WELLES\n", " Mary Anne Mathews, that was her\n", " name. Her mom remembers her.\n", "\n", " Welles looks at Longdale.\n", "\n", " WELLES\n", " You found these smut dealers and\n", " asked to buy a snuff film, right?\n", " Wanted them to find you one. Well,\n", " they didn't find you one, Longdale,\n", " they went out and made you one...\n", "\n", " LONGDALE\n", " Shut up.\n", "\n", " WELLES\n", " Mary Anne Mathews was alive till you\n", " paid money to have her murdered.\n", "\n", " LONGDALE\n", " Shut your mouth and drive!\n", "\n", " WELLES\n", " Did it get him off, huh, watching\n", " them cut her up? Tell me, because\n", " I really want to understand. Did he\n", " jerk off to it? You watch it with\n", " him, sit there giving him a handjob\n", " while you both watched... ?\n", "\n", " Longdale jams the gun against Welles' side.\n", "\n", " LONGDALE \n", " You're making me very angry.\n", "\n", " WELLES\n", " Just tell me. Tell me some more of\n", " the secrets you and Christian\n", " shared. What kind of degenerate\n", " pervert was he really? What the\n", " fuck did he want with a snuff film?\n", "\n", " LONGDALE\n", " You're asking me why?\n", "\n", " WELLES\n", " I'm asking.\n", "\n", " Longdale sits back, wipes sweat from his face.\n", "\n", " LONGDALE\n", " A man like Mr. Christian, a great\n", " man... all his money, all his\n", " power... a man who attained\n", " everything there was to attain...\n", "\n", " WELLES\n", " Why did he buy a film of some poor,\n", " lost girl getting butchered?\n", "\n", " LONGDALE\n", " Isn't it incredibly obvious?\n", "\n", " WELLES\n", " Enlighten me.\n", "\n", " LONGDALE\n", " Because he could. He did it because\n", " he could.\n", " (pause)\n", " What other reason were you looking\n", " for?\n", "\n", " Welles tightens his grip on the wheel, numbed. \n", "\n", "\n", " EXT. CHASE MANHATTAN BANK -- DAY\n", "\n", " Welles double parks, puts his hazard lights on.\n", "\n", " INT. WELLES' CAR -- CONTINUOUS\n", "\n", " Longdale sits forward, looks to the bank.\n", "\n", " LONGDALE\n", " You've got four minutes till I call\n", " Mr. Velvet and let him know there's\n", " a problem.\n", "\n", " Longdale takes a CELLULAR PHONE from his pocket, shows it.\n", " Welles climbs out, heading to the bank...\n", "\n", " INT. BANK, SAFE DEPOSIT VAULT -- DAY\n", "\n", " Welles and the SAFE DEPOSIT MANAGER enter. They go to put\n", " their KEYS in one drawer, unlocking it a pulling it out.\n", "\n", " MANAGER\n", " May I show you to a booth...\n", "\n", " WELLES\n", " No, I've got it.\n", "\n", " Welles pulls the drawer open, takes the 8MM film out and\n", " hands the empty drawer to the manager, exiting.\n", "\n", " INT. BANK -- DAY\n", "\n", " Welles comes out from the SAFE DEPOSIT VAULT, pocketing the\n", " film, crossing towards the entrance, looking around...\n", "\n", " ... at other CUSTOMERS waiting on line...\n", "\n", " ... at a GUARD with a GUN at his side...\n", "\n", " Welles detours, toward one of the LOAN DESKS. The BANK\n", " EMPLOYEE behind the desk is occupied, on the phone.\n", "\n", " As Welles moves past the desk, he grabs a PAIR of SCISSORS\n", " from a pencil holder and palms it, heading to the door...\n", "\n", " INT. WELLES' CAR -- DAY\n", "\n", " Welles gets behind the wheel. Longdale looks at his watch.\n", "\n", " LONGDALE\n", " You almost went over your limit.\n", "\n", " WELLES\n", " Fuck you.\n", "\n", " Welles puts the car in gear and drives. \n", "\n", " LONGDALE\n", " Give me the film.\n", "\n", " WELLES \n", " You'll get it when we get there.\n", "\n", " Longdale puts the gun to the side of Welles' head.\n", "\n", " LONGDALE\n", " Give me the film.\n", "\n", " WELLES\n", " Go ahead, shoot me. Then try\n", " driving to Brooklyn with my brains\n", " all over the windshield.\n", "\n", " Welles keeps driving. Longdale sits back, stewing.\n", "\n", "\n", " INT. WAREHOUSE -- DAY\n", "\n", " The door is kicked open. Welles enters, takes the 8MM FILM\n", " out and holds it in his hand. Longdale follows.\n", "\n", " As Welles moves forward, his face goes slack...\n", "\n", " Machine is seated on the bed, Eddie and Dino stand smoking\n", " cigarettes, and further on, Max is tied to the target,\n", " slumped over, three arrows in his chest. Dead.\n", "\n", " WELLES\n", " No!!\n", "\n", " Welles runs towards Max, crying out, tears in his eyes...\n", "\n", " Machine rises, goes to intercept Welles, grabbing him.\n", " Welles tries to break free, but Machine lifts Welles up and\n", " throws him brutally to the ground.\n", "\n", " Welles scrambles to get up...\n", "\n", " WELLES\n", " You fuckers!\n", "\n", " Eddie comes to KICK Welles in the face.\n", " Welles is sent sprawling, blood gushing from his nose. He\n", " lays there, stunned, weeping.\n", "\n", " Eddie pries the 8MM FILM from Welles' hand, tosses it...\n", "\n", " Dino catches the film.\n", "\n", " Machine comes to drag Welles towards the bed.\n", "\n", " Dino unspools the film, holding it up to examine it.\n", "\n", " Machine handcuffs Welles to the metal bedframe. Welles\n", " falls to his knees, holding his face.\n", " Eddie PUNCHES Welles in the head.\n", "\n", " EDDIE\n", " You're a dead man.\n", "\n", " DINO VELVET\n", " Leave him alone.\n", "\n", " EDDIE\n", " Fuck off.\n", "\n", " Eddie PUNCHES Welles in the kidney. Welles tries to protect\n", " himself. Eddie raises his fist to punch again, but Machine\n", " catches Eddie's fist, throws Eddie back...\n", "\n", " EDDIE\n", " What the fuck... !\n", "\n", " DINO\n", " I promised him to Machine.\n", "\n", " Eddie looks up at Machine, who towers over him.\n", "\n", " EDDIE\n", " ... sorry...\n", "\n", " DINO VELVET\n", " First things first. You might want\n", " to watch this, Mr. Welles...\n", "\n", " Welles looks up through tears...\n", " Dino drops the 8MM FILM on the floor, takes a small bottle\n", " of lighter fluid from his pocket. Longdale comes to watch.\n", "\n", " Welles watches helpless, agonizing...\n", "\n", " WELLES\n", " Don't... please...\n", "\n", " Dino drops the film to the floor, sprays it with fluid,\n", " takes out matches, light one, drops it...\n", "\n", " The 8MM FILM goes up in flame...\n", "\n", " Welles watches, quaking, hysterical, trying to pull himself\n", " towards the flame, dragging the bed...\n", "\n", " The film is destroyed by flame...\n", "\n", " Welles gives up, presses his face to the floor, eyes shut.\n", "\n", " DINO VELVET\n", " And so it ends. It's as if she\n", " never existed.\n", "\n", " Welles falls back, gasping, wiping blood and tears and\n", " spittle from his face, getting slowly, to his feet.\n", "\n", " DINO VELVET\n", " Don't blame yourself. You were in\n", " way over your head.\n", "\n", " He looks to Max's corpse, to the smoldering film...\n", " Swallowing back his fear, panic and rage...\n", "\n", " WELLES\n", " Motherfuckers. Small time,\n", " motherfuckers... ! Tell me\n", " something...\n", "\n", " Welles spits blood, hangs onto the bed for support.\n", "\n", " WELLES\n", " I know why you did it, Dino,\n", " Eddie... but, why'd the lawyer do\n", " it? Must have been a helluva lot of\n", " money, right? One fuckload of\n", " money...\n", "\n", " Welles sits on the bed, eyes burning with fury.\n", "\n", " WELLES\n", " So, what are you all still doing\n", " small time, huh? What are you still\n", " doing in the sewer, Eddie?!\n", " Christian gave Longdale a million\n", " dollars to find him a snuff film.\n", " How much did you ever see... ?\n", "\n", " Eddie and Dino look to Longdale.\n", "\n", " EDDIE\n", " What's he talking about?\n", "\n", " WELLES\n", " One million dollars, Dino. How much\n", " did he tell you he had...\n", "\n", " Longdale's getting very nervous.\n", "\n", " LONGDALE\n", " He's lying.\n", "\n", " WELLES\n", " Look at him. You think he played it\n", " square? How much did he give you,\n", " how much did he keep for himself?\n", "\n", " Eddie walks towards Longdale...\n", "\n", " EDDIE\n", " What the fuck's he talking about?\n", "\n", " Longdale takes out his gun, aims it at Machine, Dino and\n", " Eddie, scared...\n", "\n", " LONGDALE\n", " Stay away from me. \n", "\n", " DINO VELVET\n", " What's going on, Longdale? Did this\n", " happen?\n", "\n", " EDDIE\n", " You sell us short, you fuck?\n", "\n", " LONGDALE\n", " Stay back! You have a gun, Eddie,\n", " show it to me. Now!\n", "\n", " Eddie slowly takes out his gun, seething.\n", "\n", " LONGDALE\n", " Put it on the ground, kick it here...\n", "\n", " Eddie puts the gun down, kicks it...\n", " Longdale picks it up, throws it far away.\n", "\n", " EDDIE\n", " You fucking lawyer...\n", "\n", " LONGDALE\n", " Move back! All of you... move!\n", "\n", " Machine, Dino and Eddie stand between Longdale and the car\n", " with tinted windows parked across the warehouse...\n", "\n", " DINO VELVET\n", " What were you thinking?\n", "\n", " Welles watches as Machine, Dino and Eddie back slowly away\n", " from Longdale. Longdale's gun hand is shaky...\n", "\n", " Welles tries to drag himself towards the table where his gun\n", " and bullets are, dragging the bed, inch by inch...\n", "\n", " Longdale back away, trying to angle around the menacing trio\n", " so he can get to the car...\n", "\n", " LONGDALE\n", " Back off! Everything's been taken\n", " care of, and I'm leaving now...\n", "\n", " DINO VELVET\n", " You're not going anywhere if you\n", " fucked us, lawyer.\n", "\n", " LONGDALE\n", " I'm leaving.\n", "\n", " EDDIE\n", " You got the guts, tough guy? Gonna\n", " kill us all, is that it?\n", "\n", " DINO VELVET\n", " You betrayed us.\n", "\n", " LONGDALE\n", " Stay where you are!\n", "\n", " Machine edges forward, holding his hands in the air.\n", " Longdale brandishes the gun...\n", "\n", " LONGDALE\n", " Keep back!\n", "\n", " Machine, Eddie and Dino are held at bay...\n", "\n", " DINO VELVET\n", " You're not gonna live through this.\n", "\n", " Welles still tries to get to the table, wrist bleeding in\n", " the cuff, bed screeching across the floor...\n", "\n", " Machine, hands up, slowly reaches behind his shoulder,\n", " touches the handle of a huge KNIFE sheathed to his back.\n", "\n", " LONGDALE\n", " Our business is done, I'm leaving,\n", " no one's going to stop me...\n", "\n", " Longdale glances towards the car, seems like he's about to\n", " make a run for it. Dino Velvet takes a step forward...\n", "\n", " DINO VELVET\n", " Fuck you!\n", "\n", " Machine unsheathes the KNIFE and THROWS...\n", "\n", " THUNK! The knife imbeds to the hilt in Longdale's chest and\n", " Longdale's gun FIRES...\n", "\n", " Dino Velvet flies backwards, shot in the face!\n", "\n", " Dino hits the ground, screaming, writhing, hands to his\n", " face, blood pouring out between his fingers.\n", "\n", " Longdale falls back onto his ass, sitting there, eyes bugged\n", " out in surprise. He looks down at the knife in his chest.\n", "\n", " Machine lets out a SCREAM, runs to Dino...\n", "\n", " Machine falls to his knees and grips Dino, tries to hold\n", " him. Dino's screaming, squirming frantically...\n", "\n", " Longdale sits looking down at the knife in his chest, looks\n", " up, and gallons of blood pour from his mouth...\n", "\n", " EDDIE\n", " Fuck.\n", "\n", " Eddie comes to look down at the Longdale. Longdale falls\n", " back, dead, blood still flowing from his maw.\n", "\n", " Welles drags the heavy bed, getting closer to the table...\n", "\n", " Eddie spins, looks across to see Welles struggling...\n", "\n", " Dino breaks free from Machine, runs blindly, still holding\n", " his gushing face, falls, tries to get back up...\n", "\n", " Eddie runs towards Welles.\n", "\n", " Dino stumbles forwards, writhing, then suddenly lays still.\n", "\n", " Machine rises, looking at Dino. Tears come out from\n", " Machine's eyes and roll down his mask.\n", "\n", " One last gasp and shudder from Dino's body; death rattle.\n", "\n", " Welles pulls the bed, practically pulling his arm from the\n", " socket, desperately clawing towards the table...\n", " The table is mere feet away...\n", "\n", " Eddie arrives, KICK Welles in the ribs...\n", "\n", " Welles recoils. Eddies KICKS again. Welles curls into a\n", " ball. Eddie KICKS again...\n", "\n", " MACHINE (O.S.)\n", " NO!\n", "\n", " Eddie stops, looks to Machine.\n", "\n", " MACHINE\n", " He's mine!\n", "\n", " Machine strides over the Longdale's corpse, puts his foot on\n", " Longdale's chest, yanks out the knife...\n", " Machine starts this way...\n", "\n", " Eddie backs from Welles. Welles looks up, trying to shake\n", " off unconsciousness, sees Machine coming...\n", "\n", " Welles bows down, on his knees, as if to accept his fate...\n", " Reaching his free hand into his suit pocket...\n", "\n", " WELLES\n", " No, no, no... please, don't kill\n", " me... please... !\n", "\n", " Machine arrives, knife in hand, lifts Welles' head back by\n", " the hair, brings the knife hand back...\n", "\n", " EDDIE\n", " Do him good.\n", "\n", " Welles rises suddenly, arm shooting forward, STABBING\n", " SCISSORS deep in Machine stomach...\n", "\n", " Machine ROARS, falling back, pitching forward...\n", "\n", " Machine's knife clatters to the ground.\n", "\n", " Eddie's eyes go wide. \n", "\n", " Machine hits the floor, clutching his guts.\n", "\n", " Welles pushes upwards with all he's got left, turns the iron\n", " bedframe onto its side, flipping the mattress off...\n", "\n", " Eddie moves forward, furious...\n", "\n", " Welles grabs Machine's knife, wielding it, holding Eddie off.\n", "\n", " WELLES\n", " Back off, Eddie...\n", "\n", " Welles drags the now lightened bed frame towards the table.\n", " Eddie's sorely tempted, but keeps away.\n", "\n", " Eddie turns, looks across the warehouse...\n", "\n", " There's his gun, lying there, far away.\n", "\n", " Eddie runs for the gun.\n", "\n", " Welles pulls himself to the table, reaches for the gun,\n", " knocks the table over. He's got the gun, but...\n", "\n", " Bullets hit the floor as the table falls.\n", "\n", " Welles struggles to open his gun with his sole free hand,\n", " gets it open, holds it between his knees...\n", "\n", " Welles grabs a bullet...\n", "\n", " Eddie's running toward his gun, gasping for air...\n", "\n", " Machine's on his knees, pulling the scissors out with\n", " trembling hands...\n", "\n", " Welles puts the bullet in the gun, flips it shut, rises,\n", " taking aim across the warehouse...\n", "\n", " WELLES\n", " Stop Eddie!\n", "\n", " Eddie's running...\n", "\n", " WELLES\n", " (pulls back the hammer)\n", " I swear to Christ I'll shoot you in\n", " the back... !\n", "\n", " Eddie stops, hands up, about ten feet from his gun...\n", "\n", " Machine stays on his knees, holding his bleeding stomach.\n", " Welles points his gun at Machine.\n", "\n", " WELLES\n", " Come back, or I put a hole in him.\n", "\n", " Eddie's looking at his gun, so close, so far away.\n", "\n", " WELLES\n", " You might make it to your gun, but\n", " not before I shoot Machine. And if\n", " I have to shoot him because of you,\n", " and I don't kill him, right after he\n", " kills me, he's gonna kill you.\n", "\n", " Eddie turns, starts walking back...\n", "\n", " WELLES\n", " (to Machine)\n", " Take off the mask.\n", "\n", " Machine shakes his head.\n", "\n", " WELLES\n", " Take it off!\n", "\n", " MACHINE\n", " You got one bullet.\n", "\n", " Welles looks to see Eddie heading back, keeps the gun on\n", " Machine, backs away, dragging the bed frame, looks to the\n", " DOOR behind him...\n", "\n", " MACHINE\n", " The only choice you have now, is\n", " which one of us kills you.\n", "\n", " Welles backs away, drags the bedframe. Eddie's getting\n", " close. Welles points the gun at Eddie. Eddie slows.\n", "\n", " Welles points the gun at Machine, points the gun at Eddie.\n", "\n", " Welles puts the gun to the chain of his handcuffs, FIRES...\n", " breaks the handcuff chain.\n", "\n", " Welles bolts to the door...\n", "\n", " MACHINE\n", " Get the gun!\n", "\n", " Eddie runs back towards his gun.\n", " Machine rises with a grunt of pain, moves towards the door,\n", " but agony doubles him back over to his knees.\n", "\n", " EXT. BROOKLYN WAREHOUSE -- DAY\n", "\n", " Welles shoves out into daylight, fleeing down the stairs,\n", " running towards his car...\n", "\n", " INT. WELLES' CAR -- CONTINUOUS -- DAY\n", "\n", " Welles climbs in, gets out his keys, starts the car...\n", " He pulls away, TIRES SCREECHING. Behind, Eddie gives chase,\n", " running, FIRING his gun...\n", "\n", " Welles ducks as BULLETS SLAM the car, SHATTERING WINDOWS.\n", "\n", " EXT. BROOKLYN STREETS -- CONTINUOUS -- DAY\n", "\n", " Welles' car picks up speed, takes a turn, BURNING RUBBER...\n", " Behind, Eddie curses, runs back to the warehouse.\n", "\n", " INT. WELLES' CAR -- CONTINUOUS -- DAY\n", "\n", " Welles glances back, ENGINE ROARING. He tries to keep from\n", " crying, steers with one hand, holds his bleeding face.\n", "\n", " EXT. BROOKLYN STREETS -- CONTINUOUS -- DAY\n", "\n", " Welles' car races away.\n", "\n", "\n", " INT. WELLES' HOME, KITCHEN -- DAY\n", "\n", " Amy looks tired, like she hasn't slept. She feeds Cindy.\n", " PHONE RINGS. Amy goes to answer it...\n", "\n", " AMY\n", " (into phone)\n", " Hello?\n", "\n", " WELLES (V.O.)\n", " (from phone)\n", " Amy, it's me. Listen very\n", " carefully..\n", "\n", " AMY\n", " (into phone)\n", " Tom? Where have you been... ?\n", "\n", " INT. WELLES' CAR -- CONTINUOUS -- DAY\n", "\n", " Welles drives, face caked in dried blood, cellular phone to\n", " his ear. The HIGHWAY rushes past out the car window.\n", "\n", " WELLES\n", " (into phone)\n", " Amy, just listen. Take Cindy and\n", " get out of the house. Do it now.\n", " Go to a hotel and stay there...\n", "\n", " AMY (V.O.)\n", " (from phone)\n", " What's wrong? Are you alright?\n", "\n", " WELLES\n", " (into phone)\n", " I'm okay. Please, honey, I can't\n", " explain. Don't use the phone, just\n", " pack a bag and get out. I'm on my\n", " way. I'll be back at the house in\n", " three hours. Call me from the hotel\n", " when you get there\n", "\n", " AMY (V.O.)\n", " ... What's going on?\n", "\n", " WELLES\n", " Just do it, Amy, please, go.\n", "\n", " INT. WELLES' HOUSE, KITCHEN -- CONTINUOUS -- DAY\n", "\n", " Amy hangs up, scared. She goes to grab Cindy up into her\n", " arms, hurrying out of the kitchen and going upstairs.\n", "\n", " EXT. HIGHWAY -- CONTINUOUS -- DAY\n", "\n", " Welles' car tears down the freeway, passing other cars.\n", "\n", "\n", " EXT. WELLES' NEIGHBORHOOD -- NIGHT\n", "\n", " Suburban streets. Welles' car arrives, parks. Welles gets\n", " out, starts across a neighbor's yard, cuts between houses...\n", "\n", " EXT. WELLES' HOUSE, BACKYARD -- NIGHT\n", "\n", " Welles enters his backyard, slowing, taking out his gun. He\n", " keeps behind shrubbery, surveying his dark house.\n", "\n", " INT. WELLES' HOUSE, DOWNSTAIRS LIVING ROOM -- NIGHT\n", "\n", " Welles uses a key to unlock the SLIDING GLASS DOOR, opens it\n", " slow, enters, gun up, searching the darkness.\n", "\n", " INT. WELLES' HOUSE, OFFICE -- NIGHT\n", "\n", " Welles pushes the door open, checks this room.\n", "\n", " INT. WELLES' HOUSE, BEDROOM -- NIGHT\n", "\n", " Welles makes sure the bedroom's empty, looks in the\n", " bathroom. He puts his gun away, leaves the lights off.\n", "\n", " He goes to the PHONE on the bedside table, unscrews the\n", " earpiece. He removes a small, wire-mesh BUGGING DEVICE.\n", "\n", " INT. WELLES' HOUSE, KITCHEN -- NIGHT\n", "\n", " Dark. Welles picks up the cordless phone, struggles to pry\n", " the receiver open. He discovers another small BUG.\n", "\n", " He drops the BUGS to the floor, crushes them under foot.\n", "\n", " He puts the phone back together and is replacing it when it\n", " RINGS LOUDLY. Welles is startled, drops the phone...\n", "\n", " Welles takes a breath, trying to shake off the jitters. He\n", " picks up the RINGING PHONE, answers it...\n", "\n", " WELLES\n", " (into phone)\n", " Honey... ?\n", "\n", " MACHINE (V.O.)\n", " (from phone)\n", " Not quite.\n", "\n", " Welles stiffens.\n", "\n", " MACHINE (V.O.)\n", " Nothing like getting home after a\n", " rough day. Home sweet home.\n", "\n", " Welles moves into the HALL, towards the front door...\n", "\n", " MACHINE (V.O.)\n", " Walk away. Pack your bags, put the\n", " wife and kid in the car and find a\n", " place to hide. If you're lucky,\n", " you'll never see me again.\n", "\n", " Welles takes out his gun, opens the front door, looking out.\n", " The street in front of the house is empty. CRICKETS CHIRP.\n", "\n", " WELLES\n", " I don't know if I can do that.\n", "\n", " MACHINE (V.O.)\n", " I know who you are. I know where\n", " you live. I know everything I need\n", " to know to find you.\n", " (pause)\n", " Who am I?\n", "\n", " MACHINE is HEARD HANGING UP the phone.\n", "\n", "\n", " INT. HOTEL ROOM -- NIGHT\n", "\n", " Cindy's crying. Amy opens the door with the chain on, sees\n", " Welles, lets him in. Amy and Welles embrace, kissing. Amy\n", " touches Welles damaged face, worried...\n", "\n", " AMY\n", " What happened to you?\n", "\n", " WELLES \n", " I'm okay, honey, I'm okay. Are you\n", " alright?\n", "\n", " AMY\n", " What's going on, Tom? What happened?\n", "\n", " WELLES\n", " I can't tell you, Amy. You know I\n", " can't. You have to trust me...\n", "\n", " AMY\n", " Tom...\n", "\n", " WELLES \n", " It has to be this way for now. It\n", " won't be long.\n", "\n", " Welles goes to pick up Cindy, tries to comfort her, kisses\n", " her red face as she keeps crying.\n", "\n", " AMY\n", " Why haven't you called? Why don't\n", " you answer your phone?\n", "\n", " WELLES\n", " I don't know. I'm sorry...\n", "\n", " AMY\n", " You're sorry? What was I supposed\n", " to think?\n", "\n", " Amy comes to take Cindy from him.\n", "\n", " AMY\n", " You owe me an explanation. You\n", " can't treat me like this.\n", "\n", " WELLES\n", " I wanted to call. I couldn't.\n", "\n", " AMY\n", " You couldn't?\n", "\n", " WELLES\n", " You don't understand...\n", "\n", " AMY\n", " No, I don't, because you're not\n", " telling me anything!\n", "\n", " WELLES\n", " I was in hell. If I called you...\n", " if I heard your voice... it would\n", " have been so easy for me to quit.\n", " I couldn't do that.\n", "\n", " Tears comes to Amy's eyes.\n", "\n", " AMY\n", " You should have.\n", "\n", " WELLES\n", " Amy, I'm not going to let anything\n", " happen to us.\n", "\n", " AMY\n", " Look where we are. Look at\n", " yourself. You son of a bitch,\n", " you don't have any idea what\n", " you're putting me through...\n", "\n", " WELLES\n", " I don't know what to say\n", "\n", " AMY\n", " You're killing me...\n", "\n", " WELLES\n", " Don't...\n", "\n", " AMY\n", " What was I supposed to think\n", " happened to you?!\n", "\n", " WELLES\n", " Amy...\n", "\n", " Welles goes to Amy, but she pulls away. She sits on the\n", " bed. Cindy's still crying. Welles sits beside Amy, puts\n", " her arms around her.\n", "\n", " WELLES\n", " Forgive me.\n", "\n", " Amy cradles Cindy. Welles rests his head on Amy's shoulder,\n", " places one hand on Cindy.\n", "\n", " WELLES\n", " We have to stay here a few days.\n", " I'll get more clothing from the\n", " house if I can. I'm sorry.\n", " (pause)\n", " We're going to be okay.\n", "\n", " Welles rises. He goes to the PHONE, starts dialing. Amy\n", " looks at him, wipes tears.\n", "\n", " AMY\n", " Who are you calling?\n", "\n", " WELLES\n", " Mrs. Christian.\n", "\n", " AMY\n", " What?\n", "\n", " WELLES\n", " She's all I've got. She's the only\n", " witness.\n", "\n", " AMY\n", " Tom... she's dead.\n", "\n", " Welles looks to Amy.\n", "\n", " AMY \n", " She died in her sleep three days\n", " ago. It was in the paper...\n", "\n", " WELLES\n", " I just talked to her.\n", "\n", " Cindy's crying. Welles sits into a chair, trying to\n", " understand this, his mind racing. He hangs up the phone.\n", "\n", " AMY\n", " How could you not know?\n", "\n", " Misery pulls down the corners of Welles' mouth. He tries to\n", " find words, but none come. He sits forward and hides his\n", " face in his hands, overwhelmed. Cindy's crying.\n", "\n", "\n", " INT. HOTEL ROOM -- LATER NIGHT\n", "\n", " Cindy sleeps, encircled by pillows and blankets on the bed.\n", " Amy watches her, runs her hand gently across Cindy's head.\n", "\n", " Amy rises, turns out the light, goes to a BALCONY DOOR...\n", "\n", " EXT. HOTEL ROOM, BALCONY -- NIGHT\n", "\n", " Welles sits with his feet up on the balcony rail, looking\n", " into the parking lot. Amy joins him, sits.\n", "\n", " AMY\n", " Promise you'll stay.\n", "\n", " Welles looks at Amy.\n", "\n", " WELLES\n", " Promise you won't go back there,\n", " wherever you were. Whatever it was,\n", " forget it.\n", "\n", " Welles takes a deep breath, nods his head.\n", "\n", " AMY\n", " Promise me.\n", "\n", " Welles looks out into the night sky of stars.\n", "\n", " WELLES\n", " I promise.\n", "\n", " Amy comes to kiss Welles. Welles wraps his arms around her\n", " and holds her tight. She holds him.\n", "\n", "\n", " INT. HOTEL ROOM -- LATER NIGHT\n", "\n", " Amy is asleep on the bed beside Cindy. Welles comes out\n", " from the bathroom in a fresh shirt and suit, turns off the\n", " bathroom light. He stands looking at Cindy and Amy.\n", "\n", " EXT. HOTEL -- NIGHT\n", "\n", " Welles exits the hotel, heading to his Ford.\n", "\n", "\n", " INT. WELLES' CAR -- NIGHT\n", "\n", " Welles drives, staring ahead. Through the windshield, the\n", " headlights illuminate the endless roadway.\n", "\n", " EXT. KENNEDY AIRPORT -- NIGHT\n", "\n", " Airplanes take flight. Manhattan glitters in the distance.\n", "\n", "\n", " EXT. WILSHIRE OFFICE BUILDING -- DAY\n", "\n", " Eddie Poole's building. A typically bright, sunny LA day.\n", " In the street, Welles parks a rental car, gets out.\n", "\n", " INT. WILSHIRE OFFICE BUILDING, 8TH FLOOR HALL -- DAY\n", "\n", " ELEVATOR doors open and Welles gets off. He moves down the\n", " hall, around a corner, heading to \"Celebrity Films.\"\n", "\n", " Welles tries the door knob, finds it locked. He looks\n", " around, takes two steps back, KICKS forward... SMASHES the\n", " translucent glass of the door...\n", "\n", " INT. CELEBRITY FILMS OFFICE -- DAY\n", "\n", " Welles pushes broken glass out of the way, reaches in to\n", " open the door. The office has been cleaned out, trash on\n", " the floor, desk drawers hanging open and empty, shelves\n", " empty, posters gone...\n", "\n", " Welles grabs one of the file cabinets, pulls it open, finds\n", " it empty, pulls it all the way out and throws it.\n", "\n", " INT. 8TH FLOOR HALLWAY -- DAY\n", "\n", " People peer out from other offices, worried. Welles exits\n", " Eddie's office, ignoring them, goes around the corner,\n", " straight to the STAIRWELL, heading downstairs...\n", "\n", "\n", " EXT. HOLLYWOOD HILLS -- DAY\n", "\n", " Welles rental car parks down the hill. Welles climbs out,\n", " walking up the hill, heading for Eddie's ramshackle HOUSE.\n", "\n", " EXT. EDDIE'S HOUSE, GARAGE -- DAY\n", "\n", " Under the stilts of the porch, Welles passes Eddie's car,\n", " looks in to see it loaded with BOXES and belongings.\n", "\n", " Welles moves on to a door at the back of the garage. He\n", " takes out LOCK-PICKING TOOLS.\n", "\n", " INT. EDDIE'S HOUSE, STAIRWAY -- DAY\n", "\n", " Welles enters slow, pockets the tools, takes out his gun.\n", " FOLLOW him up the stairs, into a hallway, past a LAUNDRY\n", " ROOM with washer and dryer, into a LIVING ROOM...\n", "\n", " Welles sweeps the room with his gun, wired. Eddie's house\n", " is predictably a trash heap, strewn with VIDEOS, MAGAZINES,\n", " dirty DISHES and fast food remnants. Welles moves on...\n", "\n", " INT. EDDIE'S BEDROOM -- DAY\n", "\n", " Eddie's throwing clothing into a suitcase, hurried. Welles\n", " comes into the doorway, taking aim, edging forward.\n", "\n", " WELLES\n", " Hello, Eddie.\n", "\n", " Eddie spins, startled.\n", "\n", " WELLES\n", " Put your hands on your head.\n", "\n", " Eddie looks out of the corner of his eye... to his GUN.\n", "\n", " WELLES\n", " Put your hands behind your head,\n", " lock your finger together, get down\n", " on your knees.\n", "\n", " Eddie does as commanded, gets to his knees. Welles moves\n", " towards him, very nervous, white-knuckling the gun.\n", " He KICKS Eddie in the stomach, doubles him over.\n", "\n", " WELLES\n", " I owe you a few.\n", "\n", " Welles KICKS again.\n", "\n", "\n", " INT. EDDIE'S KITCHEN -- DAY\n", "\n", " Welles enters the filthy kitchen, carrying Eddie's gun. At\n", " the sink, Welles pops the gun's clip. He pushes the bullets\n", " out into his palm, one by one.\n", "\n", " He dumps the bullets into the GARBAGE DISPOSAL, drops the\n", " clip in, turns it on. The DISPOSAL makes a terrible\n", " GRINDING NOISE, straining, till it finally goes dead.\n", "\n", " INT. EDDIE'S LIVING ROOM -- DAY\n", "\n", " Welles goes to the picture window and closes the curtains.\n", " He turns on a lamp, goes back towards the bedroom. After a\n", " moment, he returns, dragging Eddie on the floor...\n", "\n", " Eddie's bleeding out his nose, hands DUCT-TAPED together\n", " behind his back, legs bound at the ankle, dragged by a belt\n", " around his neck, choking...\n", "\n", " Welles drops the belt, undoes it from Eddie's neck. Eddie\n", " gasps for air. Welles pulls him up, puts him on the couch.\n", "\n", " WELLES\n", " Don't go anywhere.\n", "\n", " Welles heads for the stairs...\n", "\n", " EXT. EDDIE'S GARAGE -- DAY\n", "\n", " Welles goes to Eddie car, tries the door, it's unlocked...\n", "\n", " IN THE CAR\n", "\n", " Welles takes the thick THOMAS GUIDE map book off the dash.\n", "\n", " INT. EDDIE'S LIVING ROOM -- DAY\n", "\n", " Welles returns. Eddie's on the floor, wriggling. Welles\n", " drops the Thomas Guide on the coffee table, picks Eddie up,\n", " throws him back onto the couch.\n", "\n", " EDDIE\n", " I'm gonna kill you.\n", "\n", " WELLES\n", " Don't bore me with that bullshit.\n", "\n", " EDDIE\n", " How'd you find me here?\n", "\n", " Welles PUNCHES Eddie in the ear.\n", "\n", " WELLES\n", " Don't ask questions.\n", "\n", " EDDIE\n", " Fuck you! \n", "\n", " Welles PUNCHES Eddie in the same ear. Eddie's hurting.\n", " Welles rubs his aching knuckles.\n", "\n", " WELLES\n", " Starting to recognize a pattern?\n", "\n", " EDDIE\n", " What do you want?\n", "\n", " WELLES\n", " Who is Machine?\n", "\n", " EDDIE\n", " I don't know...\n", "\n", " WELLES\n", " I want his name.\n", "\n", " EDDIE\n", " I told you, I don't know.\n", "\n", " WELLES \n", " I will never get tired of hurting\n", " you, Eddie, so you might want to\n", " change your attitude.\n", "\n", " EDDIE\n", " What the fuck am I gonna protect\n", " that freak for? He was Dino's boy,\n", " not mine. He shows up with his mask\n", " on, leaves with his mask on. Nobody\n", " knows.\n", "\n", " Welles kicks junk off a chair, sits, takes out his gun.\n", "\n", " WELLES\n", " Okay, we'll come back to that. So,\n", " six years ago a guy contacts you,\n", " through the classifieds, over the\n", " phone, however he does it. It's\n", " Longdale, looking for a snuff film.\n", " And you, entrepreneur that you are,\n", " tell him you can hook him up.\n", "\n", " EDDIE\n", " Yeah, the fucking lawyer.\n", "\n", " WELLES\n", " Told him you could get him a snuff\n", " film.\n", "\n", " EDDIE\n", " Yeah.\n", "\n", " WELLES\n", " How much did he pay you?\n", "\n", " EDDIE\n", " Thirty thousand each, that fucking\n", " cocksucker.\n", "\n", " WELLES\n", " That's all? Thirty each. That's\n", " all it took for you to murder her?\n", "\n", " EDDIE\n", " It was a lot of fucking money.\n", "\n", " Welles stands and paces, despairing. He picks up a LAMP and\n", " throws it, SHATTERS a MIRROR, keeps pacing...\n", "\n", " WELLES\n", " So... you brought Dino in, and he\n", " brought Machine. And, one day, a\n", " girl walked into your office because\n", " you had an ad in the paper for\n", " models. And she never walked out.\n", "\n", " EDDIE\n", " Something like that.\n", "\n", " WELLES\n", " What did you do, knock her out,\n", " shoot her up... ?\n", "\n", " EDDIE\n", " What the fuck do you want from me?\n", "\n", " WELLES\n", " I want to know. I want to know\n", " exactly what you did to her!\n", "\n", " EDDIE\n", " Fuck you then, you want to know? I\n", " talked her up, told her how\n", " beautiful she was, told her she was\n", " gonna be a star. I told her I was\n", " gonna get her a screen test, and\n", " while I'm doing that, I got her a\n", " soda and dropped a mickey. When it\n", " was dark enough, I rang Dino and\n", " told him it was go time, I put her\n", " in the trunk of my car and we went\n", " and we fucking did it. That's what\n", " happened. She's dead. She's been\n", " dead a long fucking time. Nobody\n", " fucking cares!\n", "\n", " Welles puts down his gun, picks up the Thomas Guide, holding\n", " it in both hands, SWINGS -- SLAMS Eddie across the face...\n", "\n", " Eddie's stunned, lips bleeding. He faces forward.\n", "\n", " EDDIE\n", " You wanted to know, now you know.\n", "\n", " Welles SWINGS the Thomas Guide -- POUNDS Eddie's face again.\n", "\n", " Welles drops the Thomas Guide in a chair, picks up his gun,\n", " leaves the room...\n", "\n", " INT. EDDIE'S KITCHEN -- DAY\n", "\n", " Welles enters, starts looking through DRAWERS, searching.\n", " He finds SILVERWARE, selects a serrated STEAK KNIFE...\n", "\n", " INT. EDDIE'S LIVING ROOM -- DAY\n", "\n", " Welles returns, goes to grasp Eddie by the shirt collar,\n", " drags him to the floor, face down. Welles stands on Eddie's\n", " neck, uses the knife to cut the duct tape on Eddie's hands.\n", "\n", " EDDIE\n", " That's right, motherfucker, cut me\n", " loose. Be a man.\n", "\n", " Welles tosses the knife, gun trained on Eddie, picks up the\n", " Thomas Guide and throws it at Eddie... \n", "\n", " WELLES\n", " Show me!\n", "\n", " Eddie, hands now free, pushes himself to a seated position,\n", " looks at the Thomas Guide.\n", "\n", " WELLES\n", " Show me where you did it, on the\n", " map, exactly where you did it.\n", "\n", " EDDIE\n", " Why?\n", "\n", " WELLES\n", " Because we're going there.\n", "\n", "\n", " EXT. 134 FREEWAY -- DAY\n", "\n", " Welles' rental car SPEEDS down the highway, east towards\n", " Pasadena, leaving the City of Los Angeles on the horizon.\n", "\n", " EXT. MOUNTAIN HIGHWAY -- DAY\n", "\n", " Welles' car travels a winding HIGHWAY that serpentines up\n", " into the scenic, forested SAN BERNADINO MOUNTAINS.\n", "\n", " EXT. BIG BEAR -- DUSK\n", "\n", " The sun is low. Big Bear Lake is vast, surrounded by\n", " wilderness on all sides. Welles' car follows a TWO-LANE\n", " ROADWAY that runs along the lake's southern shore.\n", "\n", " Welles' car passes sporadic SUMMER HOMES and CABINS.\n", "\n", " EXT. DESERTED ROADWAY -- NIGHT\n", "\n", " Heavy forests border close to the road. Welles' car travels\n", " alone, headlights on, slowing as it comes to an overgrown\n", " gravel DRIVEWAY with a rusty CHAIN strung across it.\n", "\n", " IN THE CAR\n", "\n", " Welles leans forward to look up at an old SIGN of broken\n", " neon and peeled paint: \"Big Bear Motor Lodge.\"\n", "\n", " Welles pulls forward, puts the car in reverse...\n", "\n", " ON THE ROADWAY\n", "\n", " Welles' car backs up, angling, till the rear bumper comes\n", " against the chain, BACKING... till the CHAIN SNAPS.\n", "\n", " Welles' car pulls forward across the empty roadway, turns\n", " around... accelerates down the overgrown driveway...\n", "\n", " EXT. BIG BEAR MOTOR LODGE -- NIGHT\n", "\n", " Welles' car comes down the driveway, into a small LOT.\n", "\n", " IN THE CAR\n", "\n", " THROUGH THE WINDSHIELD: headlights reveal what's left of the\n", " abandoned MOTOR LODGE, a REGISTRATION OFFICE at the center\n", " with attached wings of rooms on both sides.\n", "\n", " The LEFT WING of rooms is a fire ravaged, burnt-out\n", " skeleton. What remains of the OFFICE and RIGHT WING is\n", " boarded over, falling apart. No window has gone unbroken.\n", "\n", " IN THE LOT\n", "\n", " Welles turns out headlights and parks.\n", " He gets out, walks to look up the driveway. A CAR is HEARD.\n", " HEADLIGHTS can be seen a good distance away through the\n", " forest as the CAR PASSES.\n", "\n", " Welles goes to his car, unlocks the trunk and opens it.\n", " Eddie's lying in there, arms and legs bound, gagged.\n", "\n", " INT. MOTOR LODGE ROOM -- NIGHT\n", "\n", " The door is shoved inward, hanging crooked by one hinge.\n", " Eddie enters first, hands still bound behind him. Welles\n", " pushes Eddie forward, gun out.\n", "\n", " Welles turns on his penlight FLASHLIGHT, shining it into the\n", " room. There dead leaves all over the floor. The room's\n", " empty except for a CHAIR lying on its side.\n", "\n", " Welles sweeps the room with the inadequate light. This is\n", " where Mary Anne Mathews died, vaguely recognizable from the\n", " snuff film, without the furniture.\n", "\n", " EDDIE\n", " What are we doing here?\n", "\n", " Welles goes to the bathroom door, keeping the gun trained on\n", " Eddie, pushes the bathroom door open with his foot...\n", "\n", " The bathroom's cracked MIRROR reflects the penlight and\n", " Welles' palely lit face.\n", "\n", " WELLES \n", " That night... you didn't have to be\n", " in the room, but you were.\n", " (looks to Eddie)\n", " Why? Why did you watch?\n", "\n", " Eddie goes to the chair, tips it upright with his foot, sits.\n", "\n", " EDDIE\n", " I don't know. I felt like it. I\n", " never saw anyone get done before.\n", "\n", " WELLES\n", " You enjoy it? \n", "\n", " EDDIE\n", " Made me sick, but what did I care?\n", " What did I care if some hump wants\n", " to beat off to that. It was just\n", " something I was doing for money.\n", "\n", " WELLES\n", " Tell me what happened.\n", "\n", " EDDIE\n", " What do you want to know? You saw\n", " it, you saw the loop...\n", "\n", " WELLES\n", " Nobody saw you bring her in?\n", "\n", " EDDIE\n", " There wasn't nobody around. This\n", " place was a shit-hole. I backed up\n", " the car to the door and we carried\n", " her in, like groceries. Dino made\n", " her eat a bunch of pills, we laid\n", " out the plastic, put film in the\n", " camera and Machine went to work.\n", "\n", " WELLES\n", " What did you do with her body?\n", "\n", " EDDIE\n", " Took it out the bathroom window.\n", " Buried it in the woods.\n", "\n", " WELLES\n", " Show me.\n", "\n", " EXT. BIG BEAR MOTOR LODGE -- NIGHT\n", "\n", " Eddie and Welles come around the corner of the abandoned\n", " motel, Eddie leading the way, Welles following with gun and\n", " flashlight, into the dense forest...\n", "\n", " EDDIE\n", " What are you thinking you're gonna\n", " do... ?\n", "\n", " Welles shoves Eddie ahead.\n", "\n", " WELLES\n", " Keep moving.\n", "\n", " EDDIE\n", " Where do you think you're taking\n", " this, huh? Gonna be a big hero,\n", " avenge that little girl's death?\n", " Gonna make everything right with the\n", " world? How you gonna do that... ? \n", "\n", " FURTHER ON\n", "\n", " Welles and Eddie come over a hill, deeper into the forest...\n", "\n", " EDDIE\n", " You can't go to the cops. All you\n", " can do is cut me loose and walk\n", " away, because you got nothing...\n", "\n", " WELLES\n", " Stop talking.\n", "\n", " EDDIE\n", " You got absolute zero.\n", "\n", " WELLES\n", " Show me where you buried her.\n", "\n", " EDDIE\n", " I don't know...\n", " (nods to forest)\n", " ... out there somewhere.\n", "\n", " WELLES\n", " Where? Show me where.\n", "\n", " EDDIE\n", " I fucking don't know. What do you\n", " think... we weren't burying\n", " treasure. We didn't pace it out so\n", " we could come back and get it. We\n", " dug a hole and we put her in it.\n", " Your guess is as good as mine.\n", "\n", " Welles walks ahead of Eddie, distraught, shining his\n", " flashlight ahead across the indecipherable forest floor.\n", "\n", " EDDIE\n", " You'll never find her. Nobody ever\n", " will, and even if they did, it\n", " doesn't mean nothing. Bring in the\n", " cops, bring in the F.B.I., fuck 'em\n", " all. Without the film, it never\n", " happened. Don't you get it? It's\n", " over. You can't do anything.\n", "\n", " Welles turns, aims his gun at Eddie, furious.\n", "\n", " WELLES\n", " I can kill you. I can leave you out\n", " here, just like you left her.\n", "\n", " Eddie's not backing down.\n", "\n", " EDDIE\n", " Do it.\n", "\n", " WELLES\n", " Don't think I won't.\n", "\n", " EDDIE\n", " Do it! Put me out of my misery so\n", " I don't have to listen to you\n", " whining anymore. You think it's so\n", " easy?\n", "\n", " WELLES\n", " Easy enough for you.\n", "\n", " EDDIE\n", " I never killed anyone.\n", "\n", " WELLES\n", " That's right, you just stood there\n", " and watched, because you \"felt like\n", " it.\" Almost makes you worse.\n", "\n", " EDDIE\n", " What do you want? You want me to\n", " fall to my knees and start crying\n", " like a baby... ?\n", "\n", " Eddie walks towards Welles. Welles backs away...\n", "\n", " EDDIE\n", " Where you going? You're the one\n", " with the gun. Aren't I defenseless\n", " enough? Come on...\n", "\n", " Eddie comes ahead, defiant, the gun inches from his face.\n", "\n", " EDDIE\n", " Go ahead and kill me. Kill me with\n", " that gun, your gun, right,\n", " registered in your name? Dig the\n", " hole yourself, with your bare hands,\n", " bury the body with your bullets in\n", " it. Fucking do it!\n", "\n", " Welles step forward, presses the gun against Eddie's\n", " forehead, pulls back the hammer... \n", "\n", " Eddie just stares back at Welles with hatred in his eyes.\n", "\n", " Welles is terrified, unsure... trying to muster the courage\n", " to do it... gun hand trembling... finger on the trigger...\n", "\n", "\n", " INT. MOTOR LODGE ROOM -- NIGHT\n", "\n", " Eddie's thrown face down to the floor. Welles comes to sit\n", " on Eddie's back, facing Eddie's feet, holsters his gun,\n", " takes out duct tape and grabs Eddie's feet, wrapping them...\n", "\n", " EDDIE\n", " You pussy.\n", "\n", " Welles keeps going around Eddie's ankles with the duct tape,\n", " till Eddie's securely bound.\n", "\n", " He rips the tape roll free and gets up, walking out...\n", "\n", " EDDIE\n", " Fucking pussy!\n", "\n", " EXT. MOTOR LODGE -- NIGHT\n", "\n", " Welles pulls the door closed behind him, walks to his car.\n", "\n", " IN THE CAR\n", "\n", " Welles opens the passenger door and sits, shaken, at his\n", " wit's end. He opens the glove compartment, finds\n", " cigarettes, digs one out and lights it.\n", "\n", " He looks back to the motel room.\n", "\n", " He looks down to the glove compartment, at his CELLULAR\n", " PHONE. After a moment, Welles picks up the phone, looks at\n", " it in his hand.\n", "\n", " IN THE LOT\n", "\n", " Welles gets out of the car, gets up on the hood, lays back,\n", " staring at the sky. He closes his eyes, smokes.\n", "\n", " Welles opens the phone, looks at the illuminated numbers.\n", " He digs in his suit jacket pocket, takes out his notepad,\n", " pages through, studies one page.\n", "\n", " Welles sits up. He gathers himself, throws his cigarette,\n", " dials a number, puts the cellular to his ear, afraid...\n", "\n", " MRS MATHEWS (V.O.)\n", " (from phone)\n", " Hello... ?\n", "\n", " WELLES\n", " (into phone)\n", " Mrs. Mathews? It's Thomas. Do you\n", " remember, I was there a few weeks\n", " ago... asking about your daughter...\n", "\n", " MRS MATHEWS (V.O.)\n", " (from phone)\n", " I remember. You just left...\n", "\n", " WELLES\n", " (into phone)\n", " I have to tell you something. It\n", " won't be easy for you to hear. It's\n", " about your daughter... Mary Anne...\n", " (struggling)\n", " When I... when I was there with you,\n", " her diary, in your attic, in\n", " silverware. If you read it, you'll\n", " know what I'm telling you is true... \n", "\n", " Welles climbs off the car, paces, aching with misery...\n", "\n", " MRS MATHEWS (V.O.)\n", " What are you talking about... ?\n", "\n", " WELLES\n", " She went to California, to Los\n", " Angeles... she wanted to start over.\n", " She wanted to be an actress...\n", "\n", " MRS MATHEWS (V.O.)\n", " What... ?\n", "\n", " Tears comes to Welles' eyes. It's the hardest thing he's\n", " ever had to do in his entire life.\n", "\n", " WELLES\n", " Mrs. Mathews, your daughter is dead.\n", " She's dead.\n", "\n", " MRS MATHEWS\n", " Who is this... ?\n", "\n", " WELLES\n", " Someone... some men, they took your\n", " daughter and they drugged her, and\n", " they took her to a motel room...\n", " they did terrible things to her...\n", "\n", " MRS MATHEWS (V.O.)\n", " Who are you?\n", "\n", " WELLES\n", " They brought her into the room...\n", " one man, he put a knife to her\n", " throat and he raped her...\n", "\n", " MRS MATHEWS\n", " No...\n", "\n", " WELLES\n", " He raped her and...and...and he\n", " murdered her...he cut her up with\n", " knifes...\n", "\n", " MRS MATHEWS (V.O.)\n", " No... no... no...\n", "\n", " WELLES\n", " They killed her, and they took her\n", " out in the forest somewhere and they\n", " buried her...\n", "\n", " MRS MATHEWS (V.O.)\n", " Why... why are you doing this to\n", " me... ?\n", "\n", " WELLES\n", " They murdered her, Mrs. Mathews, I'm\n", " sorry. It happened a month after\n", " she ran away. She's been dead all\n", " this time...\n", "\n", " MRS MATHEWS is HEARD SCREAMING, letting out a CHOCKING SOB.\n", " Welles falls back against the car, holds his head, weeping...\n", "\n", " WELLES\n", " I'm sorry, I'm so sorry... there\n", " wasn't anything anyone could do...\n", "\n", " Welles pushes disconnect, lowers the phone, drops it to the\n", " ground, utterly drained. He puts his forearm over his eyes,\n", " gasping, sucking air...\n", "\n", " He looks to the motel room, tamping down his sorrow, willing\n", " it to fuel his rage...\n", "\n", " He takes out his gun, hands unsteady, determined, opens the\n", " gun and pours the bullets out. He closes the gun and walks\n", " towards the motel room...\n", "\n", " INT. MOTOR LODGE ROOM -- CONTINUOUS\n", "\n", " Welles SHOVES the door aside. The door's hinge breaks and\n", " the door falls...\n", "\n", " Eddie sits propped up against one wall, turns to look...\n", "\n", " The door SLAMS to the floor.\n", "\n", " Welles moves forward, enraged, closing on Eddie, raising his\n", " arm with the gun grasped by the butt...\n", "\n", " Eddie's eyes go wide with fear...\n", "\n", " Welles SWINGS the gun down at Eddie's head...\n", "\n", " EXT. MOTOR LODGE -- NIGHT -- CONTINUOUS\n", "\n", " The only SOUNDS come from the NIGHT FOREST. CRICKETS and\n", " distant BIRDS. We can't see anything but the TOTAL DARKNESS\n", " through the open door of the room. A CAR is HEARD, getting\n", " LOUDER as it passes, FAINTER as it gets further away.\n", "\n", " Finally, Welles comes to the doorway, in shock, steadying\n", " himself against the door frame, shirt and suit spattered\n", " red. His gun hand and gun are soaked with dripping blood.\n", "\n", " Welles looks back into the room, backing away. He turns and\n", " goes to his car...\n", "\n", " IN THE CAR\n", "\n", " Welles climbs in the driver's side, shoves his bloody gun\n", " into his holster, tries to wipe blood from his hand onto his\n", " shirt, revolted. He starts the car. \n", "\n", " INT. EDDIE'S HOUSE, LIVING ROOM -- NIGHT\n", "\n", " Welles enters and crosses through...\n", "\n", " INT. EDDIE'S KITCHEN -- NIGHT\n", "\n", " Welles goes to the kitchen sink, turns on the water, starts\n", " scrubbing his bloody hands, using dishwashing liquid,\n", " scrubbing his hands desperately under running water.\n", "\n", " EXT. EDDIE'S GARAGE -- NIGHT\n", "\n", " Welles comes out of the house, goes to open the rear door of\n", " Eddie's car, looking through BOXES of Eddie's belongings...\n", "\n", " INT. EDDIE'S LIVING ROOM -- NIGHT\n", "\n", " Welles comes up the stairs with a BOX, dumps the contents\n", " onto the living room floor: it's CHILD PORNOGRAPHY, Eddie's\n", " collection from the office, HUNDREDS of PHOTOS...\n", "\n", " INT. EDDIE'S KITCHEN -- NIGHT\n", "\n", " Welles pulls open Eddie's cabinets, searching. He finds\n", " POTS and PANS, choosing a few of the largest...\n", "\n", " EXT. EDDIE'S GARAGE -- NIGHT\n", "\n", " Welles uses a cut piece of GARDEN HOSE, siphoning GAS out\n", " from Eddie's car, filling several kitchen POTS...\n", "\n", " INT. EDDIE'S LIVING ROOM -- NIGHT\n", "\n", " Welles comes up the stairs, carries POTS of gasoline, dumps\n", " the gasoline onto the pile of PHOTOGRAPHS...\n", "\n", " INT. EDDIE'S BEDROOM -- NIGHT\n", "\n", " Welles dumps gasoline over Eddie's bed...\n", "\n", " INT. LIVING ROOM -- NIGHT\n", "\n", " Welles stands at the pile of gasoline soaked photos, taking\n", " out a MATCHBOOK, lighting one, lighting the whole book...\n", "\n", " EXT. EDDIE'S HOUSE -- NIGHT\n", "\n", " Welles walks down the dark hill, heading to his car. He\n", " gets in, starts the car and drives downhill, leaving the\n", " headlights off. BEHIND, the windows of Eddie's ramshackle\n", " HOUSE grow bright as FIRE SPREADS and CURTAINS BURN.\n", "\n", "\n", " INT. LOS ANGELES AIRPORT -- NIGHT\n", "\n", " Welles stares ahead, in fresh shirt and suit, waiting at a\n", " CHECK-IN COUNTER. \n", "\n", " The female AIRLINE AGENT behind the counter types in her\n", " COMPUTER, stamps his ticket.\n", "\n", " Welles shifts his gaze, something catches his eye...\n", "\n", " Beside a stapler on the counter, a PAIR of SCISSORS.\n", "\n", " AGENT\n", " There you are, Mr. Welles, confirmed\n", " through to Kennedy. Gate 32B.\n", "\n", " Welles stares, fixated on the SCISSORS.\n", "\n", " AGENT\n", " Mr. Welles?\n", "\n", " Welles looks to the agent holding up the ticket.\n", "\n", " AGENT\n", " Gate 32B.\n", "\n", " Welles accepts the ticket.\n", "\n", "\n", " EXT. MANHATTAN MOTEL -- NIGHT\n", "\n", " The Empire State Building in the distance says NYC, and a\n", " CAMERA PAN DOWN says another seedy MOTEL...\n", "\n", " INT. MOTEL ROOM -- NIGHT\n", "\n", " Welles sits at a small desk, looking through a PHONE BOOK,\n", " white pages, finds... \"HOSPITALS.\"\n", "\n", " Welles picks up the PHONE, chooses a number, dials it...\n", "\n", " WELLES\n", " (into phone)\n", " Hello, can you connect me with the\n", " duty nurse?\n", " (waits)\n", " Hello, this is Lieutenant Anderson\n", " down here in the Thirteenth\n", " Precinct. I've got a helluva\n", " problem I was hoping you could give\n", " me a hand with. We had a stabbing\n", " incident a couple of days ago, and\n", " it looks like the supposed victim\n", " gave us a false name and address.\n", " Can you tell me if you had an adult\n", " male with an abdominal wound in you\n", " ER in the last forty-eight hours?\n", " (listens)\n", " You'd remember this guy; a body-\n", " builder, real big guy, five foot\n", " eleven, with acne all over his chest\n", " and back...\n", " (listens)\n", " Alright, thanks for your help. \n", "\n", " Welles hangs up, uses a pen to cross out a number in the\n", " phone book, starts dialing the next number.\n", "\n", " DISSOLVE TO:\n", "\n", " INT. MOTEL ROOM -- LATER NIGHT\n", "\n", " Welles lies on the bed, on the phone, rubbing his eyes.\n", "\n", " WELLES\n", " (into phone)\n", " ... guy sticks out like a sore\n", " thumb. Five foot ten or eleven,\n", " body-builder, bad acne...\n", " (listen)\n", " Okay, thanks anyway.\n", "\n", " Welles gets up, hangs up, brings the phone back to the desk.\n", "\n", " DISSOLVE TO:\n", "\n", " INT. MOTEL ROOM -- MORNING\n", "\n", " The PHONE BOOK'S open on the desk with nearly a hundred\n", " hospital phone numbers crossed out.\n", "\n", " WELLES (O.S.)\n", " ... abdominal wound. You'd know him\n", " if you saw him... \n", "\n", " Light cuts into the room from between the curtains. Welles\n", " paces, carrying the phone with him, weary.\n", "\n", " WELLES\n", " (into phone)\n", " He's a body-builder, stands just\n", " under six feet...\n", "\n", " Welles stops in his track, listening, suddenly attentive.\n", "\n", " WELLES\n", " (into phone)\n", " That's right... covered in acne.\n", " That's him, that's the guy. Listen,\n", " we, uh... we think he filed a bogus\n", " report on this stabbing, gave us a\n", " false name and address...\n", " (listens)\n", " Yes, I'll hold.\n", "\n", " Welles goes to the desk, takes out his notepad. He starts\n", " feeling his pockets for his pen, can't find it, telephone\n", " book, searching, looks under the desk...\n", "\n", " Welles ducks under the desk to grab the pen off the floor.\n", "\n", " WELLES\n", " (into phone)\n", " Yes... yes.\n", " (sits, writing in pad)\n", " Christopher Higgins. Thirty-\n", " fifteen, Thirty Fifth Street.\n", " Where? Astoria, Queens.\n", "\n", " Welles is scribbling all this down in his notepad.\n", "\n", "\n", " EXT. QUEENS STREET -- DAY\n", "\n", " A relatively quiet residential street. HOMES are small, two\n", " story affairs, close together, each very much like its\n", " neighbor, some with tiny yards fenced in by brick walls.\n", "\n", " Welles' Ford comes slowly down the street. CHILDREN in\n", " school uniforms are heading off for the day in groups.\n", "\n", " Welles parallel parks.\n", "\n", " IN THE CAR\n", "\n", " Welles turns off the engine.\n", " He's watching a HOUSE on the other side of the street. The\n", " house is brick on the bottom, aluminum siding on top,\n", " quaint, with brick staircase from the front door down to a\n", " GARAGE underneath, plastic PINK FLAMINGOS on the small lawn.\n", "\n", " Cars pass in the street. Welles watches school children\n", " pass on the near sidewalk. He slumps down a little in his\n", " seat, adjusting the rearview mirror, adjusting his side\n", " mirror, rolling up the window.\n", "\n", " Welles takes a cautionary look around, takes out his gun,\n", " pours bullets out and pockets them. He picks up a PAPER BAG\n", " off the passenger seat and opens it.\n", "\n", " He takes out a long, thin metal FILE, pulling off the shrink\n", " wrap packaging, feels the file with his thumb.\n", "\n", " Keeping his open gun low under the steering wheel, Welles\n", " slides the file into the barrel, scraping gently all along\n", " the gun's inner barrel.\n", "\n", " DISSOLVE TO:\n", "\n", " INT. WELLES' CAR -- LATER DAY\n", "\n", " Welles sits smoking a cigarette, watching the quaint house.\n", " He looks in his side mirror...\n", "\n", " There's a large CAR coming down the block with its turn\n", " signal on. Welles slumps a little lower.\n", "\n", " The car passes, slowing. The GARAGE DOOR of the quaint\n", " house begins to open. \n", "\n", " Welles watches...\n", " Can't really see the driver of the car except for the back\n", " of his head, but he's huge. It's a good bet it's Machine.\n", " Beside him in the passenger seat is a GREY HAIRED OLD WOMAN.\n", "\n", " The car pulls into the darkness of the quaint house's\n", " garage. After a moment, the OLD WOMAN comes from the\n", " garage, walks with a cane, wears glasses. She goes to the\n", " sidewalk, checks her MAILBOX, finds it empty.\n", "\n", " Welles watches.\n", "\n", " The old woman goes back to the garage. She goes inside.\n", " The garage door closes behind her.\n", "\n", " DISSOLVE TO:\n", "\n", " INT. WELLES' CAR -- NIGHT\n", "\n", " Welles still watches the house. There's a light on in one\n", " of the second floor windows, curtains closed.\n", "\n", " Welles yawns, shaking his head, trying to stay awake.\n", "\n", " At the quaint house, a light comes on in the front picture\n", " window. Looks like a living room or dining room. The old\n", " woman comes to sit at a table.\n", "\n", " Welles takes binoculars off the front seat...\n", "\n", " THROUGH BINOCULARS\n", "\n", " The old woman says something to someone we cannot see.\n", " She's at the dinner table, with a place setting in front of\n", " her. After a moment, someone joins her...\n", "\n", " It's Machine, you can tell by his bulk, by his huge\n", " forearms. The lacy curtains of the window block part of our\n", " view, so we never see his face.\n", "\n", " IN THE CAR\n", "\n", " Welles lowers the binoculars, still watching.\n", "\n", " Through the window across the street, Machine can be seen\n", " putting a plate of food in front of the old woman. The old\n", " woman smiles up at him, says something.\n", "\n", " Machine goes to light two candles on the table with matches,\n", " then goes back to stand beside the old woman.\n", "\n", " Machine is seen from behind, bends to give the old woman a\n", " kiss on the cheek, then leaves the room. The old woman\n", " starts to eat.\n", "\n", " DISSOLVE TO:\n", "\n", " INT. WELLES' CAR -- DAY\n", "\n", " Dawn light is just breaking. Welles has fallen asleep,\n", " slumped low behind the wheel, snoring lightly.\n", "\n", " Welles awakens with a start, looking around, confused. He\n", " calms, rubbing his eyes, wiping sweat from his features.\n", "\n", " ACROSS THE STREET\n", "\n", " The quaint house's garage door begins to rise.\n", "\n", " IN THE CAR\n", "\n", " Welles sees this, keeps low, watching...\n", " The big car backs out into the street. The old woman's\n", " behind the wheel, wearing a hat, driving away, alone.\n", "\n", " Welles watches the car head away in the rear view mirror.\n", "\n", " ON THE STREET\n", "\n", " Welles gets out of his car, shuts the door quietly behind\n", " him. He starts walking towards the quaint house, looks all\n", " directions, making sure no one's around.\n", "\n", " Ahead, the garage door begins to close.\n", "\n", " Welles picks up the pace, trying not to look too\n", " conspicuous. The garage door's halfway down...\n", "\n", " Welles runs towards the garage, has to dive and roll to get\n", " there, but he makes it under the door just as it closes.\n", "\n", " ABOVE\n", "\n", " In ONE WINDOW of the quaint house, an eyeball is peering out\n", " from lacy curtains, then moves away and curtains fall shut.\n", "\n", " INT. QUAINT HOUSE, GARAGE -- DAY\n", "\n", " Welles gets up, takes out his gun, brushing off.\n", " The garage is dark, full of BOXES and JUNK. Welles moves\n", " towards the door to the house.\n", "\n", " INT. QUAINT HOUSE, BEDROOM -- DAY\n", "\n", " Machine, in T-shirt and jeans, seen only from behind, comes\n", " to a DRESSER and opens a bottom drawer. His huge hands push\n", " clothing aside, digging deep to the bottom of the drawer,\n", " taking out the WRESTLING MASK.\n", "\n", " Machine stands straight, pulling the mask down over his head.\n", "\n", " INT. BASEMENT -- DAY\n", "\n", " Welles enters from the garage, gun up. The dank basement is\n", " small. A PILE of LAUNDRY lies on the floor near a WASHING\n", " MACHINE. \n", "\n", " SHEETS hang off several CLOTHES LINES strung across two\n", " metal poles. Welles leads with his gun...\n", "\n", " He moves around the sheets, looking behind them. There's a\n", " WOODEN STAIRCASE leading upstairs. Welles starts up,\n", " treading lightly, trying not to make a sound...\n", "\n", " INT. KITCHEN -- DAY\n", "\n", " Welles slowly opens the door to the kitchen, pointing his\n", " gun. No one here. The decor is feminine, neat and tidy.\n", " It's grandma's house, and it shows, with gaudy PRINT\n", " WALLPAPER everywhere, every shelf displaying HUMMEL\n", " FIGURINES or COLLECTORS PLATES. Very Home Shopping Network.\n", "\n", " INT. DINING ROOM/LIVING ROOM -- DAY\n", "\n", " Welles slowly opens the swinging door, entering from the\n", " kitchen, sweeping the room with his gun. No sign of\n", " Machine. The whole house is dead quiet.\n", "\n", " He passes the dining room TABLE where he watched the old\n", " woman eat last night... passes fake PAINTINGS on the walls,\n", " of waterfalls and sunset mountain landscapes... moves into\n", " the living room area...\n", "\n", " Yellow shag CARPET. A pink SOFA is covered in clear\n", " plastic, facing an old TELEVISION in faux-wooden cabinet.\n", " Welles heads for a staircase leading to the second floor.\n", "\n", " Welles creeps up the stairs...\n", "\n", " INT. SECOND FLOOR HALLWAY -- DAY\n", "\n", " Welles comes up from the stairs, arrives at a closed DOOR.\n", " He opens the door. It's a linen closet, with TOWELS and\n", " SHEETS on shelves, and a shelf of MEDICINE.\n", "\n", " Welles shuts the door and moves on. There are TWO DOORS\n", " ahead, both closed. Welles takes the one to the right...\n", "\n", " INT. MACHINE'S BEDROOM -- DAY\n", "\n", " Welles pushes the door in, enters warily. There's a\n", " constant SCRATCHING HEARD. The room is like a child's,\n", " except the BED is huge. Shelves are full of BOARDGAMES and\n", " COMIC BOOKS. A DANZIG POSTER on the wall. There's a RECORD\n", " PLAYER with LP RECORDS beside it. A record turns on the\n", " turntable, the needle caught at the center, SCRATCHING...\n", "\n", " Welles eases his way over to the closet... reaching...\n", " Pulls it open, steps back, gun up. Nothing. Just clothing.\n", "\n", " INT. SECOND FLOOR HALLWAY -- DAY\n", "\n", " Welles crosses, opens the door across the hall, enters...\n", "\n", " DOWN THE HALL, very slowly, Machine's head rises on the\n", " stairs, in the garish wrestling mask, peering.\n", "\n", " INT. GRANDMA'S ROOM -- DAY\n", "\n", " Welles stays near the door, looks around. There's a fuzzy\n", " sky-blue COMFORTER on the bed, fuzzy blue SLIPPERS nearby.\n", " Lots of bottles of MEDICINE on the bedside table.\n", "\n", " Welles lowers his gun, takes a step back, into the hall...\n", "\n", " INT. SECOND FLOOR HALLWAY -- DAY\n", "\n", " Welles turns...\n", " Machine charges down the hall, screaming with rage, BOWIE\n", " KNIFE raised to kill...\n", "\n", " Welles brings his gun up, but Machine's upon him, stabbing...\n", "\n", " Welles catches Machine's hand, stops the knife. Machine\n", " grips Welles' gun hand, shoving him back...\n", "\n", " Welles is SLAMMED against the wall, grappling, gun hand\n", " pinned. Welles GUN GOES OFF, once... twice...\n", "\n", " BLOWING HOLES in the ceiling. Machine's grunts, pushing the\n", " knife forward... closer to Welles, face... closer...\n", "\n", " Welles struggles, overpowered. The tip of the horrible\n", " knife is inches away...\n", "\n", " Welles bends his knees, crouching, trying to gain distance\n", " from the blade...\n", "\n", " Machine pulls Welles gun hand lower, brings it against the\n", " swinging LAUNDRY CHUTE DOOR built into the wall, begins\n", " twisting Welles' hand back, trying to pry the gun loose...\n", "\n", " Welles looks out the corner of his eyes to his gun...\n", "\n", " Welles turns his gun hand, slowing struggling to aim the gun\n", " towards the knife, but it's awful close to his face...\n", "\n", " The knife's shaking, less than an inch from Welles' cheek...\n", "\n", " Welles shuts his eyes and turns his head, letting out a CRY,\n", " FIRES his gun...\n", "\n", " The bullet BLASTS Machine's knife, knocks it away!\n", "\n", " Machine recoils for a millisecond, but brings his now free\n", " hand to Welles' throat, choking him. Welles' face reddens,\n", " bleeding from bullet fragments...\n", "\n", " Welles tries to pry Machine's fingers from his throat.\n", "\n", " Machine works on Welles' gun hand with violent, renewed\n", " effort -- SLAMS Welles' hand against the laundry chute...\n", " SLAMS it... SLAMS it... till Welles DROPS the GUN...\n", " The gun can be HEARD CLATTERING down the chute. \n", "\n", " Machine brings his hand to join the other around Welles'\n", " throat. Welles can't break the grip...\n", "\n", " Welles PUNCHES Machine's face, till blood runs out from the\n", " mask's nose hole, but it's having no effect...\n", "\n", " Welles brings his KNEE UP HARD -- into Machine's stomach!\n", "\n", " Machine falls to his knees with a ROAR, holds his already\n", " wounded stomach, bleeding through his shirt...\n", "\n", " Welles falls, clutching his throat, gasping. He struggles\n", " to his feet, leaps past, headlong towards the stairs...\n", "\n", " Machine rises, charging after...\n", "\n", " ON THE STAIRCASE\n", "\n", " Welles is TACKLED from behind...\n", " Welles and Machine TUMBLE down the stairs, SMASHING the\n", " wooden railing, toppling a BOOKSHELF... LANDING HARD...\n", "\n", " Welles PUNCHES and KICKS, breaking free, running across the\n", " living room. Machine rises to give chase...\n", "\n", " Welles grabs a dining room CHAIR and THROWS it...\n", " Machine knocks the chair aside, keeps coming. Welles grips\n", " another chair, uses it to hold Machine off...\n", "\n", " Machine grips the chair by the legs. Welles SHOVES forward,\n", " pushes Machine back, letting go...\n", "\n", " Welles dives under the dining table, crawling on his hands\n", " and knees, scrambling...\n", "\n", " Machine throws the chair, runs, leaps...\n", " Machine lands on the table, crawls to the far edge, GRABBING\n", " down with his meaty fists as Welles moves forward...\n", "\n", " Under the table, Welles jerks back, avoiding, then rises,\n", " extending his knees, PUSHING upwards from underneath...\n", "\n", " Welles FLIPS the table, throwing Machine to the floor...\n", "\n", " Welles charges towards the kitchen door, falls, gets up...\n", " Machine gets to his feet...\n", "\n", " IN THE KITCHEN\n", "\n", " Welles SHOVES through the swinging door...\n", " Machine BURSTS through, catching Welles, TACKLING him...\n", "\n", " Welles hits the floor with Machine on top. Machine begins\n", " to rein PUNCHES down on Welles, head and back...\n", "\n", " Welles tries to cover up, taking a real beating...\n", "\n", " Machine rises, gripping Welles, LIFTING him, THROWS him...\n", "\n", " Welles SMASHES into shelves of knick-knacks over the kitchen\n", " sink, SHATTERING a WINDOW, landing on the sink and counter.\n", "\n", " Machine comes to grip Welles again, drags him across the\n", " counter, KNOCKING EVERYTHING to the floor...\n", " Machine SWINGS Welles, releases him...\n", "\n", " Welles SLAMS the refrigerator and slumps to the ground,\n", " tries to stay conscious, trying weakly to get back up...\n", " Machine comes to Welles, gets on his knees...\n", "\n", " Machine wraps his arm around Welles' neck from behind, gets\n", " him in a CHOKE HOLD, tightens his grip, cutting off Welles\n", " airway with his forearm...\n", "\n", " Welles tries to break Machine's impossible grip with one\n", " hand, begins searching the floor with his other hand...\n", " frantically feeling for anything he can use...\n", "\n", " Welles' face is blood red...\n", "\n", " Welles' hand grasps desperately... finds a FORK, grips it...\n", "\n", " Welles SWINGS the fork back, STABS it into Machine's thigh!\n", "\n", " Machine SCREAMS, releases Welles and falls back, reaching\n", " around to the fork...\n", "\n", " Welles gets to his knees, sucking air, turns to look...\n", "\n", " Machine crawls away, pulls the fork out with trembling\n", " fingers. Beyond him, there's the BASEMENT DOOR.\n", "\n", " Welles gets to his feet, looking...\n", " He grabs a FRYING PAN off the counter, gripping it in both\n", " hands and moving towards Machine...\n", "\n", " Machine's getting up...\n", " Welles BASHES Machine in the face with an upward swing of\n", " the frying pan...\n", "\n", " Machine is sent backpedaling, CRASHING into the oven!\n", "\n", " Welles drops the pan, leaps over Machine, to the door...\n", "\n", " IN THE BASEMENT\n", "\n", " Welles comes down the stairs, falls when he gets to the\n", " bottom, barely has any strength left. He looks all\n", " directions, sees the LAUNDRY CHUTE in the ceiling...\n", "\n", " Welles gets up, stumbling, falls to his knees at the PILE of\n", " dirty LAUNDRY, starts digging through it, searching\n", " desperately, throwing clothing aside...\n", "\n", " Behind, Machine comes down the stairs, a bloody mess...\n", "\n", " Welles searches the laundry pile... \n", "\n", " Machine reaches the bottom of the stairs, heading for\n", " Welles. Welles turns, has the GUN in hand, FIRES TWICE...\n", " HITTING Machine in the shoulder and stomach, knocking\n", " Machine a few steps backwards...\n", "\n", " Welles FIRES...\n", "\n", " Machine's HIT in the CHEST, falling back, into hanging\n", " laundry, pulling down the clothes line and sheets...\n", "\n", " Machine hits the ground, wrapped in sheets.\n", "\n", " Welles stands, still aiming the gun, pulls the trigger on an\n", " empty chamber. Out of bullets.\n", "\n", " Machine's trying to pull free from the sheets, trying to get\n", " back up to his feet. Welles lets out a sob, drops the gun,\n", " walking to Machine...\n", "\n", " Welles climbs onto Machine from behind, takes clothing line\n", " in hand, starts wrapping the cord around Machine's throat...\n", "\n", " Welles pulls back on the clothes line, pulling it tight...\n", "\n", " Machine tries to get his fingers around the cord. Welles\n", " stands, pulling tighter, putting a foot on Machine's back,\n", " pulling the clothes line with all his might...\n", "\n", " The cord's cutting into Welles' hand, drawing blood.\n", "\n", " Machine, face down, lets out a gurgling sound, struggling,\n", " struggling... till he finally stops moving.\n", "\n", " Welles releases the cord, takes a step back, breathing hard,\n", " trembling. He looks around the basement.\n", "\n", " Welles walks to pick up his gun, replaces the gun in his\n", " holster. He stands looking at Machine.\n", "\n", " Welles walks to Machine, bends, grasps Machine wrestling\n", " mask, pulling it off. He rolls Machine over...\n", "\n", " Welles stares down at Machine. We never see Machine's face.\n", "\n", " INT. KITCHEN -- DAY\n", "\n", " Welles comes up from the basement, slow, hurting. He looks\n", " around at the damage done, looks down to see he's still\n", " holding Machine's mask. He drops it.\n", "\n", " EXT. QUAINT HOUSE -- DAY\n", "\n", " Welles crosses the street, going to his car. He gets into\n", " his car, starts it, pulls out and drives away.\n", "\n", "\n", " EXT. WELLES' HOUSE -- DAY\n", "\n", " BIRDS SING. KIDS are kicking around a soccer ball down the\n", " street. Welles' Ford arrives, pulls into the driveway.\n", "\n", " INT. WELLES' HOUSE, FRONT HALLWAY -- DAY\n", "\n", " Welles comes in the front door, still a horrible mess.\n", "\n", " WELLES\n", " Hello?! Amy?\n", "\n", " He waits. The house is quiet. No one home.\n", "\n", "\n", " EXT. WELLES' HOUSE -- LATER DAY\n", "\n", " Dusk. A CAR comes down the street, slows...\n", "\n", " IN THE CAR\n", "\n", " Amy sits forward, seeing Welles' car in the driveway.\n", " Cindy's in a child safety seat in back.\n", "\n", " INT. WELLES' HOUSE, FRONT HALLWAY -- DAY\n", "\n", " Amy comes in the front door, carrying Amy.\n", "\n", " AMY\n", " Tom?!\n", "\n", " No answer.\n", "\n", " INT. WELLES' HOUSE, BEDROOM -- DAY\n", "\n", " Any pushes the bedroom door open and looks in. Welles is\n", " asleep on the bed, still in his clothing and shoes. Amy\n", " watches him sleep, sad.\n", "\n", " Amy backs out of the room, pulls the door shut.\n", "\n", "\n", " INT. WELLES' HOUSE, BEDROOM -- NIGHT\n", "\n", " Dark. Welles sleeps, still in bloody clothing. He's\n", " restless, shifting, MUTTERING under his breath. Bad dreams.\n", "\n", " Welles suddenly sits bolt upright in the bed, looking around\n", " the dark room, breathing hard.\n", "\n", " INT. WELLES' HOUSE, KITCHEN -- NIGHT\n", "\n", " Cindy's in her high-chair by the table. Amy's at the\n", " KITCHEN SINK, washing vegetables, peeling potatoes.\n", "\n", " Welles comes to stand in the doorway behind her. Amy turns\n", " to look at him. It breaks her heart to see him so wounded,\n", " but she forces herself to continue working in the sink.\n", "\n", " AMY\n", " How much forgiveness do you think I\n", " have in me?\n", "\n", " Welles comes into the kitchen, stands beside Cindy, puts his\n", " hand out and clasp's Cindy's tiny hand.\n", "\n", " WELLES\n", " I can't talk about it yet... not\n", " yet.\n", "\n", " Amy keeps peeling potatoes, refuses to look at him. Welles\n", " looks down at Cindy, pats Cindy's head, looks back at Amy.\n", " He stands looking at Amy for a long moment.\n", "\n", "\n", " EXT. WELLES' HOUSE, BACKYARD -- DAY\n", "\n", " Welles wears his fishing cap, pushing his lawn mower, mowing\n", " his yard. He has done some healing, though his face is\n", " still swollen and terribly bruised.\n", "\n", " INT. KITCHEN -- NIGHT\n", "\n", " Welles feeds Cindy with one hand, eating his own dinner with\n", " the other. Amy's across the table, eating, watching them.\n", "\n", " INT. BASEMENT -- DAY\n", "\n", " Welles works on the WATER HEATER, wrench in hand, reading an\n", " instruction sheet. He puts the sheet aside, uses the wrench\n", " to begin loosening one of the pipe fittings.\n", "\n", " EXT. WELLES' HOUSE -- NIGHT\n", "\n", " Welles drags two GARBAGE CANS from the garage to the street,\n", " leaving them by the mailbox, walking back to the house.\n", "\n", " INT. BEDROOM -- NIGHT\n", "\n", " Welles and Amy are in bed. Amy's asleep, on her side,\n", " facing away from Welles. Welles lays awake, on his back,\n", " staring up at the ceiling.\n", "\n", " INT. SUPERMARKET AISLE -- DAY\n", "\n", " Welles pushes a cart down one aisle. He looks at his LIST,\n", " takes a BOX of CEREAL off one shelf, puts it in the cart.\n", "\n", " INT. SUPERMARKET CHECK-OUT -- DAY\n", "\n", " Welles waits in line with his cart. It's a long line.\n", " He takes out his wallet, opens it.\n", "\n", " In the fold of the wallet, there's a PHOTO folded into\n", " quarters. Welles unfolds it and looks at it dolefully.\n", " It's the PHOTO of Mary Anne Mathews, the image Welles\n", " printed from early in the snuff film. Sad girl. \n", "\n", " Welles folds in back up, puts it in another pocket. He\n", " looks forward in the line to see if it's moving.\n", "\n", " EXT. SUPERMARKET -- DAY\n", "\n", " Welles transfers BAGS of GROCERIES from the shopping cart\n", " into the back seat of his Ford.\n", "\n", " INT. WELLES' FORD -- DAY\n", "\n", " Welles drives on the HIGHWAY, groceries in back. He watches\n", " the roadway ahead. There's little traffic.\n", "\n", " Welles glances down, turns on the RADIO. Some CLASSICAL\n", " MUSIC PLAYS. Welles stares forward through the windshield.\n", "\n", " After a moment, Welles turns the RADIO OFF. He drives. The\n", " ONLY SOUND is the DRONE of the ENGINE and TIRES.\n", "\n", " Welles is suddenly overwhelmed by emotion, eyes filling with\n", " tears. He tries to fight it, but can't help himself. His\n", " face contorts with sorrow and he cannot stop crying, letting\n", " out a loud WAIL of misery...\n", "\n", " EXT. HIGHWAY -- DAY -- CONTINUOUS\n", "\n", " Welles' car moves to the shoulder, brakes to a sudden HALT.\n", "\n", " INT. WELLES' FORD -- DAY -- CONTINUOUS\n", "\n", " Welles takes great deep breathes and lets them out, over and\n", " over again, wiping at his tears. He lets out a little high-\n", " pitched WHINE from far back in his throat...\n", "\n", " WELLES\n", " Why... why... ?\n", "\n", " He's wracked by SOBBING.\n", "\n", "\n", " INT. WELLES' HOUSE, CINDY'S ROOM -- DAY\n", "\n", " Amy's in a chair, reading a BOOK, not far from Cindy's crib.\n", " Cindy's asleep. The FRONT DOOR of the house is HEARD\n", " OPENING and CLOSING from far off in the house. Amy looks up\n", " momentarily, then returns to reading.\n", "\n", " FOOTSTEPS can be HEARD coming through the house, getting\n", " CLOSER. Amy looks up from her book. The bedroom door's\n", " open a crack. The door slowly pushes open. Welles stands\n", " there, eyes red from crying.\n", "\n", " AMY\n", " Tom... ?\n", "\n", " Welles comes into the room, stands before Amy. He gets to\n", " his knees, puts his head in Amy's lap, wraps his arms around\n", " her waist. Amy holds him, worried, eyes filling with tears.\n", "\n", " WELLES\n", " I have to tell you... I have to tell\n", " you what happened. I have to tell\n", " you everything, but we can't tell\n", " anyone else. No one else can ever\n", " know.\n", "\n", " Amy runs her fingers through his hair, bends down to rest\n", " her head on his back, holding him with her eyes closed.\n", " Welles holds tighter.\n", "\n", " WELLES\n", " You're all I've got. You're all\n", " I've ever had.\n", " (pause)\n", " You're the only one who can save me.\n", "\n", "\n", "\n", "\n", "\n", "\n", " the end\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "
\n", " (Revised - 5/15/59)\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " \" A T O M I C S U B M A R I N E \"\n", "\n", "\n", " Screenplay by\n", "\n", " ORVILLE H. HAMPTON\n", "\n", "\n", "\n", " PRODUCER\n", "\n", " ALEX GORDON\n", "\n", "\n", "\n", " DIRECTOR\n", "\n", " SPENCER G. BENNET\n", "\n", "\n", "\n", " IN ASSOCIATION WITH PRODUCTION MANAGER\n", "\n", " JACK RABIN & IRVING BLOCK EDWARD MOREY, JR.\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", " GORHAM-RAYLOCK PRODUCTIONS\n", "\n", "- - -\n", "\n", " \"ATOMIC SUBMARINE\"\n", "\n", "\n", "\n", " AHEAD OF TITLES - PROLOGUE\n", "\n", " FADE IN:\n", "\n", " 1 STOCK SHOT - NORTH POLE AREA - DAY\n", "\n", " With, possibly, radically-designed jet planes flying\n", " over the Arctic wastes.\n", "\n", " NARRATOR\n", " It cost Commander Robert Peary\n", " twenty years or unremitting hard-\n", " ship and misery to reach the North\n", " Pole, finally, in 1909.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 2 ANOTHER STOCK SHOT - ARCTIC WASTES - DAY\n", "\n", " NARRATOR\n", " It would have astounded Peary to\n", " learn that, by the late 1950's\n", " and early 60's, the vast, frozen\n", " top-of-the-world he pioneered had\n", " become a vital highway for world\n", " travel and commerce. Not just in\n", " the skies...\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 3 SPECIAL EFFECT SHOT - UNDER ICE - SUBMARINE ROUTE\n", "\n", " NARRATOR\n", " ...but also deep under the ice,\n", " in the frigid, five-million-square-\n", " mile depths of the Arctic Ocean.\n", "\n", "\n", " 4 SPECIAL EFFECT SHOT - CARGO SUB STURGEON - DAY\n", "\n", " The huge, heavy vessel glides smoothly along, between\n", " underwater mountains, following the well-beaten Polar\n", " route.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 2.\n", "\n", "\n", " 4 (CONTINUED)\n", "\n", " NARRATOR\n", " Here great passenger and cargo-\n", " carrying atomic submarines glided\n", " by the dozens, back and forth\n", " across the Pole, until a series\n", " of mysterious undersea disasters\n", " threatened to close the Arctic\n", " route forever.\n", "\n", "\n", " 5 SPECIAL EFFECT SHOT - CLOSE SHOT - STURGEON\n", "\n", " As it glides, very close, PAST CAMERA, so we can read\n", " the name: U.S.A.S. STURGEON (United States Atom Sub\n", " Sturgeon) on the bow. We may spot the closed-circuit\n", " TV camera on the surface of the conning tower.\n", "\n", " NARRATOR\n", " The decisive moment came May 3, at\n", " 1315 hours, when the undersea\n", " atomic liner, Sturgeon, largest of\n", " them all, reached 87 degrees, 10\n", " minutes north latitude - only a\n", " few miles from the North Pole it-\n", " self!\n", "\n", "\n", " 6 SPECIAL EFFECT SHOT - UNDERWATER ICE CAVE - DAY\n", "\n", " In the depths of it appears a distant, faint ball of\n", " glowing light. The ball begins moving toward CAMERA,\n", " slowly, becoming larger and larger. There may be a\n", " FAINT, WEIRD ELECTRICAL HUM just audible from it.\n", "\n", "\n", " 7 SPECIAL EFFECT SHOT - CARGO SUB STURGEON\n", "\n", " It moves ahead, unconscious of impending doom, the Peep-\n", " Peep of its sonar impulses now gradually increasing in\n", " pitch, Doppler effect, as they echo back from the\n", " approaching blob of light.\n", "\n", "\n", " 8 SPECIAL EFFECT SHOT - THE SAUCER - DAY\n", "\n", " Dimly seen, a vague, indistinct shape (thru this sequence\n", " -- it approaches -- a huge, oval-shaped disc, with what\n", " seems to be a revolving turret, or lighthouse, on top.\n", " The Peep-Peep of the Sturgeon sonar has now risen to a\n", " frantic scream, and the MAGNETIC, LOW-FREQUENCY HUM from\n", " the saucer becomes louder and louder\n", "\n", "- - -\n", "\n", " 3.\n", "\n", "\n", " 9 SPECIAL EFFECT SHOT - PAN SHOT WITH STURGEON\n", "\n", " The great atom sub glides past camera, but now, as we\n", " are shooting from her stern over the bow, we see the\n", " screws halt, then go into reverse, and she begins to\n", " back away, back TOWARD CAMERA. Then, in the b.g., we\n", " see the saucer, the great, eerie 'eye' or whatever it\n", " is, looming like a searchlight on her top, and the\n", " oval shape seeming like a great mass of glowing energy.\n", " The saucer is easily overtaking the reversed Sturgeon,\n", " when:\n", "\n", "\n", " 10 SPECIAL EFFECT SHOT - THE SAUCER\n", "\n", " It moves to a position nearly filling screen, when...\n", "\n", " A great bolt of sheer high-frequency energy - like an\n", " undersea lightning bolt - stabs out from somewhere in\n", " the saucer, and lances out TOWARD CAMERA.\n", "\n", "\n", " 11 SPECIAL EFFECT SHOT - THE SAUCER AND STURGEON\n", "\n", " The great, stabbing bolt of energy impinges on the hull\n", " of the Sturgeon, and for an instant, the entire sub\n", " seems to glow with radiant light. Then, in closer de-\n", " tails, we see the effects...\n", "\n", "\n", " 12 SPECIAL EFFECT SHOT - BOW OF STURGEON\n", "\n", " It seems to melt away (or collapse) like a shell of\n", " paraffin over a fire. The water boils and hisses\n", " about it.\n", "\n", "\n", " 13 SPECIAL EFFECT SHOT - CONNING TOWER\n", "\n", " The radio antenna, the periscope, the mast, the tower\n", " itself - all seem to melt, and collapse.\n", "\n", "\n", " 14 SPECIAL EFFECT SHOT - THE STURGEON\n", "\n", " What is left of the Sturgeon, glowing and hissing,\n", " still red hot, begins rising to the surface, towards\n", " the ice-layer.\n", "\n", "\n", " 15 SPECIAL EFFECT SHOT - THE SAUCER\n", "\n", " It reverses, draws back into the ice-cave from which\n", " it issued.\n", "\n", "- - -\n", "\n", " 4.\n", "\n", "\n", " 16 SPECLAL EFFECT SHOT - ABOVE ICE - DAY\n", "\n", " And now, she seems to be rising in a tremendous crunch-\n", " ing, grinding, writhing activity. Finally, it breaks\n", " completely, and for a moment, the red-hot hull of the\n", " Sturgeon is visible in the cracking, grinding masses\n", " of ice. Then, a larger hiss of steam, and finally a\n", " ROAR of earthquake volume, a fireball, then a mushroom\n", " cloud. The atomic reactor of the Sturgeon has blown up,\n", " the ship is vaporized to nothingness. As the atomic\n", " cloud rises up toward camera...\n", "\n", "\n", " 17 SCREEN WHIRLS OPTICALLY INTO A SPIRAL BLUR\n", "\n", " and then\n", "\n", " DISSOLVES TO:\n", "\n", "\n", " 18 INSERT - CLCSEUP - NEWSPAPER FRONT PAGE\n", "\n", " This comes WHIRLING INTO VIEW, then WHIRLING STOPS and\n", " we can read the headline in the CAPITAL TIMES.\n", "\n", " CLOSE ARCTIC SEA LANE\n", " AFTER EPIC DISASTER!!\n", " - - -\n", " Mysterious Loss of Sturgeon,\n", " Latest in Series of Polar\n", " Tragedies, Prompts\n", " Drastic Action.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 19 EXT. STOCK SHOTS - WASHINGTON\n", "\n", " Prererably of the Pentagon. A helicopter shot of it\n", " would be most readily identifiable.\n", "\n", " NARRATOR\n", " According to the official reports,\n", " the next phase of the life-and-\n", " death drama occurred May 10, in\n", " Washington --\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 20 INSERT - CLOSEUP PANELED DOOR\n", "\n", " On which is lettered:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 5.\n", "\n", "\n", " 20 (CONTINUED)\n", "\n", " BUREAU OF ARCTIC DEFENSE\n", " WAR ROOM\n", " NO ADMITTANCE WITHOUT\n", " SPECIAL\n", " SECURITY CLEARANCE\n", "\n", " NARRATOR\n", " -- at a hush-hush, super-secret\n", " meeting in the Arctic theater\n", " war room.\n", "\n", "\n", " 21 INT. WAR ROOM - DAY - MATTE SHOT - EST. SHOT\n", "\n", " This room is, more than anything else, a system of maps\n", " and charts - a huge detail of the Arctic ocean occupy-\n", " ing an entire wall behind the conference table. On it\n", " are small, magnetic models of submarines, defense\n", " stations, etc. Also, to one side, is a huge globe of\n", " the world, on a revolving stand. File cabinets, rolled\n", " maps and charts, shelves of references, navigation\n", " guides, etc. All business; no time wasted on decora-\n", " tion. There is an electric lock on the door; no one\n", " can 'burst in' on the excuse of making a mistake.\n", "\n", "\n", " 22 CLOSE SHOT - ADMIRAL TERHUNE\n", "\n", " The burly, grim-faced Admiral, in uniform, is at the\n", " head of the conference table. There is an intercom\n", " on a small stand beside his position at the table. The\n", " Admiral has a sheaf of reports and photographs, also\n", " a stack of mimeographed 'briefs' at his elbow. No\n", " nonsense; Terhune speaks in clipped, brief phrases,\n", " almost as if he has digested sentences down to short,\n", " terse bursts before 'releasing' them from his lips.\n", " The Admiralts lips are moving as we first see him,\n", " but we do not hear his speech until the Narrator is\n", " finished.\n", "\n", " NARRATOR\n", " Admiral Terhune, in charge of the\n", " Arctic Theater for the Joint Chiefs,\n", " well knew the effect the 'leak' of\n", " any of the explosive information\n", " would have on the world civilian\n", " population. So the Admiral was\n", " determined: There would be no\n", " leaks!\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\n", " 6.\n", "\n", " 23 FULL SHOT - PAST CONFERENCE TABLE - TOWARD DOOR\n", "\n", " And now we see Admiral Terhune in the close f.g., and\n", " the other participants of the meeting - DR. CLIFFORD KENT,\n", " a practical, 'egghead' scientist, Chief of Scientific\n", " Research and Weapons Development; SIR IAN HUNT, English,\n", " winner of the Nobel prize for Oceanography, and Defense\n", " Secretary Murdock, distinguished, white-haired.\n", "\n", " There is a KNOCK. Admiral Terhune presses the button,\n", " the lock BUZZES, and the door opens.\n", "\n", " COMMANDER WENDOVER steps inside. He is a hard-bitten,\n", " intelligent young-old man of about forty. Years of\n", " responsibility have made him older mentally than physically.\n", " He is the highest type of the professional navy man, the\n", " elite of the new craft, the atomic submarine.\n", "\n", " WENDOVER\n", " Admiral Terhune!\n", "\n", " 24 PANNING WITH WENDOVER\n", "\n", " He manages a smile, puts out his hand as he crosses to\n", " the Admiral's place at the table, in a TIGHT GROUP SHOT\n", " with the other men.\n", "\n", " ADMIRAL\n", " (addressing the men at the table)\n", " Gentlemen, this is the man we've\n", " been waiting for - Skipper of the\n", " atom killer sub, Tiger Shark -\n", " Commander Dan Wendover.\n", " (indicating)\n", " This is Justin Murdock, Secretary\n", " of Defense...\n", "\n", " WENDOVER\n", " Mr. Murdock...\n", "\n", " MURDOCK\n", " Commander.\n", "\n", " ADMIRAL\n", " And I know you've heard of Dr.\n", " Clifford Kent, Dan --\n", "\n", " Wendover puts out his hand and the scientist takes it.\n", "\n", " KENT\n", " Commander.\n", "\n", " ADMIRAL\n", " Dr. Kent had a lot to do with the\n", " development and design of your boat.\n", " (continued)\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 7.\n", "\n", " 24 (CONTINUED)\n", " MURDOCK\n", " (indicating)\n", " Sir Ian Hunt just flew in from\n", " London.\n", "\n", " WENDOVER\n", " (impressed)\n", " Are you the Doctor Hunt - Nobel\n", " prize winner for Oceanography?\n", "\n", " SIR IAN\n", " (smiling)\n", " Let's say I took the bows for a\n", " team of brrlliant associates.\n", "\n", " They take their seats at the table. Terhune indicates\n", " a place for Wendover; meanwhile, he pulls a sheet of\n", " paper from a file folder in front of him. Looking at\n", " them all in turn to command attention, the Admiral says:\n", "\n", " ADMIRAL\n", " Gentlemen, to begin, let me read\n", " you just one line from a detailed\n", " staff study prepared for the Joint\n", " Chiefs: \"In our judgment, these Arctic\n", " disasters may prove the gravest\n", " emergency in all history.\"\n", "\n", " 25 REACTION SHOT - PANNING OVER FACES\n", "\n", " As part of the above line carries over scene.\n", "\n", " MURDOCK O.S.\n", " Any comments on that statement?\n", "\n", " 26 CLOSE TWO - SIR IAN AND KENT\n", "\n", " Sir Ian, in typical English underplay fashion, comments:\n", "\n", " SIR IAN\n", " Bit on the fanciful side, isn't it,\n", " Sir?\n", "\n", " 27 GROUP SHOT\n", "\n", " The Admiral smiles wryly, murmurs:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 8.\n", "\n", "\n", " 27 (CONTINUED)\n", "\n", " ADMIRAL\n", " Possibly, possibly.\n", " (then, a new thought,\n", " taking another paper\n", " from the folder)\n", " Let me read you a partial list\n", " of observed phenomena:\n", " 1. Complete disruption of communica-\n", " tions with Dew line warning stations.\n", " 2. Destruction of four surface\n", " vessels, largest, 10,000 tons.\n", " 3. Radioactivity in Arctic waters,\n", " floe ice and bergs.\n", " 4. Peculiar television images preceding\n", " each distress call.\n", " 5. Seven Polar atom subs, vanished\n", " without a trace!\n", " (a grim smile)\n", " \"Fanciful\" did you say, Sir Ian?\n", "\n", "\n", " 28 REACTION SHOTS - CLOSEUPS - MEN\n", "\n", " To INTERCUT above, while Admiral reads.\n", "\n", "\n", " 29 TIGHT GROUP\n", "\n", " The Admiral looks up expectantly into the faces.\n", "\n", " ADMIRAL\n", " Now we come to you, Dan. You\n", " skipper the Tiger Shark, the\n", " most advanced, the deadliest\n", " killer sub in the fleet. Right\n", " now she's undergoing emergency,\n", " around the clock modification in\n", " the Bremerton navy yard.\n", "\n", " The Admiral pulls a cross-section of the Tiger Shark\n", " from his pile of documents, uses a pencil to indicate\n", " his point as he says:\n", "\n", " ADMIRAL (cont'd)\n", " The orders call for special obser-\n", " vation and testing instruments\n", " here...\n", "\n", "\n", " 30 INSERT - CLOSEUP - DIAGRAM OF SUB\n", "\n", " As the Admiral's pencil, as a pointer, follows his\n", " words, he explains:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 9.\n", "\n", "\n", " 30 (CONTINUED)\n", "\n", " ADMIRAL O.S.\n", " Removal of all but two atomic\n", " torpedos. Special launching\n", " equipment for water-to-air\n", " ballistic missiles. A special\n", " escape hatch in the keel for the\n", " Lungfish.\n", "\n", "\n", " 31 GROUP SHOT - FAVORING WENDOVER AND ADMIRAL\n", "\n", " As Wendover frowns, puzzled.\n", "\n", " WENDOVER\n", " 'The Lungfish?'\n", "\n", " ADMIRAL\n", " A special deep-exploration device\n", " - sort of an animated diving bell.\n", " Captain Siguard Nielsen developed\n", " it, after he retired, if you remem-\n", " ber?\n", " (tossing the diagram\n", " back on the pile)\n", " He'll be going with you -\n", " (then, indicating\n", " the other two\n", " scientists)\n", " - along with Dr. Kent, and Sir Ian.\n", "\n", "\n", " 32 CAMERA ROLLS IN SLOWLY FOR TIGHT TWO OF THE ADMIRAL\n", " AND WENDOVER\n", "\n", " Wendover's face becoming more and more grim as the\n", " Admiral explains:\n", "\n", " ADMIRAL\n", " Special orders are being cut\n", " recalling your entire crew\n", " from leave, effective at once.\n", " There's a fast jet at National\n", " Airport waiting to fly you,\n", " Dr. Kent and Sir Ian to Seattle.\n", "\n", "\n", " 33 CAMERA MOVES IN FOR BIG HEAD OF WENDOVER\n", "\n", " as the Admiral concludes:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\"\n", " 10.\n", " 33 (CONTINUED)\n", "\n", " ADMIRAL O.S.\n", " The Mission of the Tiger Shark is\n", " to hunt down and identify the cause\n", " of these Arctic disasters. If humanly\n", " possible, you will remove it:\n", "\n", " SLOW DISSOLVE TO:\n", "\n", " 33-A STOCK SHOT - SEATTLE - PREFERABLY HIGH PANORAMA - NIGHT\n", "\n", " DISSOLVE TO:\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\"\n", " 10-A.\n", " 33-B INT. REEF'S APARTMENT - NIGHT\n", "\n", " A modern bachelor apartment - living room and bedroom\n", " combination, nicely furnished, with a kitchenette\n", " behind a pass-through bar at the other end of the room.\n", " This doubles as a bar for mixing drinks. Empty\n", " glasses and the remnants of snacks are scattered about.\n", "\n", " 33-C APARTMENT DOOR - THREE SHOT - DAVE HELEN REEF\n", "\n", " LIEUTENANT DAVE MILBURN, ex-Naval Academy halfback\n", " and inter-collegiate boxing champion, hard-nosed and\n", " trigger-tempered, is reluctantly taking leave from\n", " Reef's party. His pretty, placid wife, HELEN, is\n", " indeavoring to get him through the open door and cut\n", " his 'farewell scene' short. Dave is slightly, but\n", " not objectionably, high. REEF HOLLOWAY, a handsome,\n", " capable, relaxed Annapolis-type, is smiling amiably\n", " and bantering with Dave, all the while trying to\n", " usher him out with determined speed. But it is not\n", " easy to get Dave through the door. He is chattering\n", " constantly, in a lecturing tone, to someone inside\n", " the apartment o.s.\n", "\n", " DAVE\n", " (earnestly)\n", " ...Not that I don't think our\n", " Lieutenant Commander Holloway is\n", " the finest exec in the sub fleet,\n", " Julie...and not that he isn't the\n", " best friend I have -\n", "\n", " HELEN\n", " (pulling Dave by his arm)\n", " Come on, Dave. You talk too much.\n", "\n", " DAVE\n", " Quiet, Little Mother!\n", " (back to Julie o.s.)\n", " I feel it behooves me to warn\n", " you -\n", "\n", " 33-D FULL SHOT - JULIE\n", "\n", " perched on the arm of an overstuffed chair, in all\n", " her lush female magnificence - contoured and\n", " accoutered elegantly - with fine legs, long and sexy.\n", " Julie is drool-bait, especially for an undersea\n", " sailor who only comes up for air and 'so forth'\n", " every three months. Julie smiles to herself as she\n", " listens to Dave's slightly thick, but earnest advice.\n", "\n", " DAVE\n", " (continuing, o.s.)\n", " Our friend Reef is no less than\n", " Number One Howl of the entire sub\n", " Wolf Pack. Nuclear powered! When\n", " it comes to women, he has a built-in\n", " sonar detector that -\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 10-B-C-D.\n", " 33-E THREE SHOT - REEF DAVE HELEN - APARTMENT DOOR\n", "\n", " Reef is trying to crowd Dave through the door from\n", " behind while Helen is tugging away at him from the outer\n", " portion of the doorway.\n", "\n", " REEF\n", " Now, Dave Old Buddy, you know\n", " you're exaggerating -\n", " (to Helen)\n", " What do you think of this husband\n", " of yours? On most boats a certain\n", " loyalty exists between the Exec and\n", " his Navigation and Firing Officer.\n", " (he sighs tragically)\n", " But unfortunately, in the case of\n", " Lieutenant Dave Milburn of the Tiger\n", " Shark and myself -\n", "\n", " DAVE\n", " (fighting his way back\n", " inside, militantly)\n", " But Julie's a nice girl, and I've\n", " seen you work. She deserves a fighting\n", " chance!\n", "\n", " REEF\n", " Helen. I appeal to you -\n", "\n", " HELEN\n", " (clutching Dave by both\n", " shoulders and staring him in\n", " the eye)\n", " Dave! Look at me! I am the mother\n", " of your three children! Now please\n", " take me home to them. At once!\n", "\n", " Dave smiles weakly, now feeling the drinks, bows\n", " heroically to the room at large, and exits scene\n", " under Helen's guiding arm. Reef closes the door\n", " behind them with an elaborate sigh, then CAMERA\n", " PANS WITH HIM into scene with Julie. She looks up\n", " at him impishly and smiles:\n", "\n", " JULIE\n", " Dave is exaggerating. Just think, a\n", " man spends three months in a deep freeze.\n", " It'd take his whole shore leave just to\n", " thaw him out. By that time, he's ready\n", " to report back!\n", "\n", " REEF\n", " It won't take me long to defrost -\n", " not around you!\n", "\n", " The moment is pregnant with anticipation as Reef\n", " meets the unspoken challenge in Julie's eyes as we\n", "\n", " DISSOLVE TO:\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 10-E\n", "\n", " 33-F TIGHT TWO SHOT - BIG HEADS - REEF AND JULIE\n", "\n", " In a deep, torried kiss on the couch. Eyes closed,\n", " they enthusiastically plumb the depths of feeling, then,\n", " at last, reluctantly, they break apart. Julie sighs\n", " deeply. Reef shakes his head, like a boxer who has\n", " sustained a knockout punch, trying to clear it. CAMERA\n", " PULLS BACK for MED. TWO. Julie, unable to speak for a\n", " moment, throws a quick look at Reef, who seems to be\n", " gulping for air, then she reaches for a cigarette from\n", " a box on the coffee table. She drops two or three as\n", " she fumbles for one and finally gets it in her mouth.\n", "\n", " Reef picks up a table lighter, strikes it, holds it to\n", " her cigarette. But his arm is trembling so he cannot\n", " hold it steady. Finally, Julie grasps his wrist, holds\n", " the flame steady, then contrives to bring the tip of the\n", " cigarette in contact with it. She leans back, takes a\n", " deep drag, only now dares to speak.\n", "\n", " JULIE\n", " (ruefully)\n", " What was I saying...about thawing\n", " out icebergs?\n", "\n", " Reef manages a tiny smile. Then he observes:\n", "\n", " REEF\n", " You never can tell about ice-\n", " bergs. Only one-ninth above water.\n", "\n", " Julie weighs this, then studies Reef appraisingly:\n", "\n", " JULIE\n", " After that kiss - I'd say that's\n", " about right.\n", "\n", " Reef snuggles closer to her, slips an arm about her\n", " waist, murmurs:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 10-F\n", "\n", "\n", " 33-M (CONTINUED)\n", "\n", " REEF\n", " Do you feel anything?\n", "\n", " JULIE\n", " (incredulous, dis-\n", " traught)\n", " Are you kidding???\n", "\n", " She takes a couple of rapid puffs, reaches for her\n", " drink, takes a long pull at it.\n", "\n", " REEF\n", " I mean - that this is the be-\n", " ginning of something - that it\n", " wasn't just...accidental, our\n", " getting together?\n", "\n", " JULIE\n", " (wryly)\n", " Original!\n", " (staring off, as\n", " if to recall)\n", " Isn't the next chorus something\n", " about: 'Let's not waste one\n", " precious golden moment - any\n", " second, there could be a knock\n", " on the door, and -\n", "\n", " Reef covers her mouth with his fingertips, murmurs:\n", "\n", " REEF\n", " Stranger things have happened,\n", " you know. I've had leaves can-\n", " celled like -\n", "\n", " He snaps his fingers. Now Julie covers his lips,\n", " murmurs with unmistakable import:\n", "\n", " JULIE\n", " Then by all means, let's not\n", " waste time!\n", "\n", " And she kisses him - hard, enthusiastically. Immedi-\n", " ately, happ1ly, Reef enters into the spirit of the\n", " thing.\n", "\n", "- - -\n", "\n", " 10-G\n", "\n", "\n", "\n", " 34 (OMITTED)\n", "\n", "\n", " 34-A INSERT - CLOSEUP GLOVED HAND - AT DOOR OF REEF'S\n", " APARTMENT\n", "\n", " A uniform glove. It comes up to the bell, which is be-\n", " neath a card reading: LT. COMM. RICH. L. HOLLOWAY, U.S.N.\n", " The gloved finger punches the bell.\n", "\n", "\n", " 35 INT. REEF'S APARTMENT - NIGHT - TIGHT TWO - REEF AND\n", " JULIE\n", "\n", " Still kissing. Julie murmurs:\n", "\n", " JULIE\n", " I hear a bell.\n", "\n", " Eyes closed, Reef murmurs:\n", "\n", " REEF\n", " I hear a whole carillon of 'em!\n", "\n", " And he kisses her again.\n", "\n", "\n", " 36 INT. HALL OUTSIDE REEF'S APARTMENT - NIGHT - INSERT -\n", " CLOSE PAN - WITH HAND\n", "\n", " As it leaves the bell, begins BANGING on the door in-\n", " sistently.\n", "\n", "\n", " 37 INT. REEF'S APARTMENT - NIGHT - TWO SHOT - JULIE AND\n", " REEF\n", "\n", " Again, frowning, she listens:\n", "\n", " JULIE\n", " What's that pounding?\n", "\n", " Reef, eyes still closed, takes her hand, places it over\n", " his heart.\n", "\n", " REEF\n", " (murmurs)\n", " Need I say more?\n", "\n", " And he kisses her again. The POUNDING STOPS.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 10-H\n", "\n", " 38 OVER SHOULDERS OF REEF AND JULIE - DOWN AT FLOOR\n", "\n", " And now Julie, looking over Reef's shoulder, sees an\n", " envelope pushed under the door from the hall outside.\n", " She reacts, taps him on the shoulder.\n", "\n", " JULIE\n", " (insistently)\n", " Reef - look!\n", "\n", " Reluctantly, he turns, sees the envelope. He frowns at\n", " her. With extreme reluctance, he goes to the door,\n", " stoops down, picks up the envelope, removes the contents.\n", " Julie waits anxiously.\n", "\n", " Suddenly, Reef grasps the significance, slaps his fore-\n", " head in exasperation.\n", "\n", " REEF\n", " Oh no!\n", "\n", " JULIE\n", " (alarmed)\n", " What's wrong?\n", "\n", " She jumps up, goes over to him, grasps his wrist, looks\n", " at the papers. She, too, reacts, as Reef tragically slaps\n", " his forehead again, looks regretfully at her - this lovely,\n", " willing morsel.\n", "\n", " REEF\n", " Oh no!\n", "\n", " And he is almost crying as we -\n", "\n", " SLOW DISSOLVE TO:\n", "\n", " 38-A STOCK SHOT - A NAVY YARD - NIGHT\n", "\n", " CUT TO:\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 11\n", "\n", " 39 EXT. NAVY YARD - NIGHT - CLOSEUP SIGN ON BUILDING\n", "\n", " BREMERTON NAVY YARD\n", " DOCKS 1-6\n", " No Admittance Except to Authorized\n", " U.S. Navy Personnel\n", "\n", " CAMERA PANS OFF SIGN to pick up jeep which pulls up to\n", " the front of the gate leading to the pier. Reef Holloway,\n", " very grim-faced, very disgusted, climbs out, takes his\n", " sea bag from the vehicle. The jeep pulls away. Reef,\n", " shaking his head regretfully, starts toward the Marine\n", " guard at the door.\n", "\n", " OMIT 40\n", " 40A NAVY YARD - AT GATE\n", "\n", " CHIEF OF THE BOAT 'GRIFF' GRIFFIN, an 'old Navy' man\n", " with clipboard, is checking off seamen, one by one, as\n", " they pass through the gate, murmuring their names and\n", " passing on the submarine o.s.\n", "\n", " As Reef approaches, LIEUT. DAVE MILBURN intercepts him.\n", "\n", " DAVE\n", " Reef!\n", "\n", " REEF\n", " (glumly)\n", " So they caught up with you, too?\n", "\n", " 40B TWO SHOT - DAVE & REEF\n", "\n", " DAVE\n", " (sadly)\n", " At the worst possible moment.\n", " Tomorrow is Janie's birthday.\n", " Poor little kid has looked forward\n", " for two months to having her Daddy\n", " home. Now -\n", "\n", " REEF\n", " (unimpressed)\n", " That's the worst possible moment?\n", "\n", " DAVE\n", " (frowning)\n", " What could be worse than disappoint-\n", " ing a little girl?\n", "\n", " REEF\n", " (flatly)\n", " Disappointing a big girl!\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\"\n", " 11-A\n", " 40B (CONTINUED)\n", "\n", " Dave, with a wicked grin, takes this big.\n", "\n", " DAVE\n", " Julie!\n", "\n", " (he laughs cruelly, unsympathetically)\n", "\n", " Reef throws him a dirty, betrayed look.\n", "\n", " 40C PANNING WITH THEM - PAST GRIFF\n", "\n", " As they start through the gate past Griff, who acknowledges\n", " them. Dave laughs heartily, claps Reef sympathetically on\n", " the shoulder.\n", "\n", " DAVE\n", " Tough, old buddy! Really\n", " tough!\n", "\n", " DISSOLVE TO:\n", "\n", " 41 INT. CONTROL ROOM - GROUP SHOT - WENDOVER HUNT KENT\n", "\n", " As Dave and Reef come down ladder and greet Wendover.\n", "\n", " REEF\n", " (puzzled)\n", " Thought you were going to\n", " Washington, Skipper.\n", "\n", " WENDOVER\n", " I did go. Just back.\n", " (then)\n", " Reef, these are a couple of\n", " our passengers - Sir Ian Hunt,\n", " and Dr. Clifford Kent. My exec,\n", " Commander Richard Holloway.\n", "\n", " REEF\n", " (shaking hands)\n", " I met Dr. Kent, once.\n", "\n", " KENT\n", " Nice to see you again, Commander.\n", "\n", " REEF\n", " (puzzled)\n", " Are you men going with us? What\n", " for? Where -\n", "\n", " WENDOVER\n", " (non-commitally)\n", " We'll discuss that later.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 12.\n", "\n", " 42 PAN WITH WENDOVER TO SEAMAN\n", "\n", " WENDOVER\n", " Tell Chief Griffin to report to\n", " me as soon as the crew is aboard.\n", "\n", " The seaman acknowledges the order and exits.\n", "\n", " WENDOVER\n", " (to Kent and Sir Ian)\n", " My yeoman will show you to your\n", " quarters.\n", "\n", " SIR IAN\n", " Thank you.\n", "\n", " One of the seamen leads the way out bulkhead door\n", " to the wardroom.\n", "\n", " 42A EXT. NAVY YARD - AT GATE (as in 40-A)\n", "\n", " The seaman who reported Wendover's message is just\n", " exiting scene. Griffin is checking names off on his\n", " roster as YEOMAN CHESTER TUTTLE, rumor-monger of the\n", " Tiger Shark, approaches the Chief.\n", "\n", " CHESTER\n", " What's the scoop, Griff? Hauled\n", " out in the middle of the night - all\n", " leaves cancelled. We goin' to war,\n", " or what?\n", "\n", " GRIFF\n", " (logically)\n", " Don't you worry, Chester. When the\n", " Skipper wants you to know what's going\n", " on, he'll tell you. Okay?\n", "\n", " CHESTER\n", " (not satisfied)\n", " I don't like it. This is all mighty\n", " funny -\n", "\n", " GRIFF\n", " (non-commitally)\n", " Isn't it, though?\n", " (then, motioning with his\n", " pencil)\n", " Suppose you get aboard, anyway, huh?\n", "\n", " Disgruntled, Chester passes through the gate, as Griff\n", " checks him off on the roster and grins after him.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 13-14\n", "\n", " 43 INT. CONTROL ROOM - NIGHT\n", "\n", " Here is the 'brain' of the sub - the controls, the\n", " TV monitors, the sonar sets, the 'Christmas Tree' panel\n", " of warning lights, etc.\n", "\n", " 44 FULL SHOT - THE CON\n", "\n", " Dave Milburn is already busy checking the equipment.\n", " The other seamen are preparing the boat for sea. Reef\n", " turns to Wendover.\n", "\n", " REEF\n", " I think I'll stow my gear.\n", "\n", " But Wendover, with a peculiar look, frowns, and says:\n", "\n", " WENDOVER\n", " I'm - afraid I have some bad\n", " news for you, Reef -\n", " (as Reef looks at him)\n", " You'll have to share quarters,\n", " this trip.\n", "\n", " REEF\n", " (frowns, puzzled)\n", " Who with?\n", "\n", " WENDOVER\n", " Dr. Neilsen. He'll be - -\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 15.\n", "\n", "\n", " 44 (CONTINUED)\n", "\n", " REEF\n", " (grins)\n", " 'Doctor' Neilsen? When did that\n", " happen?\n", "\n", " WENDOVER\n", " (puzzled)\n", " Huh?\n", "\n", " REEF\n", " (cheerfully)\n", " It'll be all right. We're old\n", " friends!\n", "\n", " Now Reef is down below deck level. Wendover turns\n", " towards Dave. Wendover shrugs helplessly. Dave re-\n", " turns it.\n", "\n", " WENDOVER\n", " (checking the plot\n", " board)\n", " Get ready. We shove off as soon\n", " as Griff reports all the crew\n", " aboard.\n", "\n", " DAVE\n", " Right, Skipper.\n", "\n", " He goes to work, as Wendover smiles peculiarly at the\n", " bulkhead door through which Reef just passed.\n", "\n", "\n", " 45 INT. PASSAGEWAY - NIGHT - PAN SHOT - WITH REEF -\n", " OVERLAP ACTION ABOVE\n", "\n", " As he climbs down a ladder into FRAME, then PAN WITH\n", " HIM as he eases past a couple of seamen and arrives at\n", " the entrance to the exec compartment. He frowns as he\n", " sees a sign by entrance.\n", "\n", "\n", " 46 INSERT - CLOSEUP - THE SIGN\n", "\n", " It is only stuck on by scotch tape, below the normal\n", " exec sign. It reads: DR. NEILSEN.\n", "\n", "\n", " 47 CLOSE SHOT - REEF\n", "\n", " He hesitates only a second, knocks, then pushes drapes\n", " aside.\n", "\n", "- - -\n", "\n", " 16.\n", "\n", "\n", " 48 INT. EXEC COMPARTMET - NIGHT - MED. CLOSE - REEF\n", "\n", " As he enters, smiling cheerfully:\n", "\n", " REEF\n", " I understand we'll be sharing\n", " quarters, Skipper -\n", " (but then, his grin\n", " fades, becomes a look\n", " of disgust, loathing)\n", " Carl! You - !\n", "\n", "\n", " 49 TWO SHOT - REEF AND CARL NEILSEN\n", "\n", " CARL NEILSEN has the look of an ascetic - thin, sensi-\n", " tive features, a nervous, intense manner - the 'egg-\n", " head' appearance. He turns, reacts to Reef's presence.\n", " He is smoking a cigarette in rapid, nervous puffs.\n", " Reef sinks, disgusted onto the bunk.\n", "\n", " REEF\n", " I should have suspectcd, when\n", " I heard that 'Doctor.' I thought\n", " it was your father.\n", "\n", " CARL\n", " It was supposed to be. Dad had\n", " a heart attack, two days ago.\n", "\n", " REEF\n", " (alarmed)\n", " How is he - ?\n", "\n", " CARL\n", " It was moderate. He'll be\n", " all right.\n", " (then)\n", " But it was out of the question,\n", " his coming along.\n", "\n", " REEF\n", " (disgusted)\n", " And they thought you could re-\n", " place the Skipper?\n", "\n", " Carl displays a trace of anger for the first time.\n", "\n", " CARL\n", " There was no choice. Dad and I\n", " developed the Lungfish together.\n", " Except for him, I'm the only one\n", " qualified to dive in it.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 17-18\n", "\n", "\n", " 49 (CONTINUED)\n", "\n", " REEF\n", " You could train someone else.\n", "\n", " CARL\n", " Not in two days.\n", " (then, earnestly)\n", " Look: Do you think I wanted\n", " to come? If it didn't mean\n", " so much to Dad - proving his\n", " depth-explorer - it's the last\n", " thing I'd want!\n", "\n", " Reef's lip curls contemptuously. He mutters slowly,\n", " angrily:\n", "\n", " REEF\n", " That I can believe!\n", "\n", " Carl drops his eyes at the intensity of Reef's stare.\n", " He turns to his gear, begins unpacking his essentials.\n", " Reef shakes his head vaguely, worriedly.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 50\n", " thru (OMITTED)\n", " 53\n", "\n", "\n", " 54 EXT. SUBMARINE DOCK - NIGHT - STOCK SHOT OR SPECIAL\n", " EFFECT - SUBMARINE LEAVING DOCK\n", "\n", " It makes a turn in the channel, then heads up the\n", " Sound, past Seattle, toward the open sea.\n", "\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 19.\n", "\n", "\n", " 54 (CONTINUED)\n", "\n", " NARRATOR\n", " The Tiger Shark left her dock\n", " at Bremerton at 0335 hours, the\n", " morning of May 11, on what was\n", " to prove the strangest, most\n", " fearful voyage ever made by a\n", " submarine, atomic or otherwise.\n", "\n", " WIPE TO:\n", "\n", "\n", " 55 INT. CAPTAIN'S COMPARTMENT - NIGHT - CLOSE SHOT -\n", " WENDOVER AT DESK\n", "\n", " He carefully opens a compartment of his desk, locked\n", " by a combination lock, takes out the log book and the\n", " sealed orders for the voyage. Then, replacing the\n", " orders in the compartment, he takes a pen and begins\n", " making an entry in the log.\n", "\n", " NARRATOR\n", " Simultaneously with the 'Shark's'\n", " departure, and with his crew still\n", " in the dark concerning their secret,\n", " fateful mission, Skipper Wendover\n", " made the first notation in the log...\n", "\n", "\n", " 56 INSERT - CLOSEUP - THE LOG BOOK\n", "\n", " As Wendover's hand writes, carefully and precisely:\n", " MAY 11 - 0335 HOURS. DEPARTED BREMERTON DOCK, FULL\n", " CREW - SPECIAL PASSENGERS KENT, HUNT,\n", " NEILSEN. WILL BRIEF CREW IN TWO HOURS\n", " AFTER CLEARING SOUND...\n", "\n", " NARRATOR\n", " ...The men would remain un-briefed\n", " for two hours, until the Tiger\n", " Shark cleared Puget Sound and was\n", " headed for the open sea...\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 57 INT. CREW DINING ROOM - NIGHT - FULL SHOT - THE\n", " DINING HALL\n", "\n", " Which has a series of long tables and benches, re-\n", " movable when the room is to be used for other pur-\n", " poses. To one side is the pass-through to the galley,\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 20.\n", "\n", " 57 (CONTINUED)\n", "\n", " where there is always a cook on duty to feed and\n", " coffee men coming off watch. There are several crew\n", " members drinking coffee at the tables now. We see CPO\n", " Griff Griffin enter, almost stumble and fall over a huge\n", " pile of equipment on the floor - aqualungs, face masks,\n", " tanks, fins, rubber suits, etc. - sharkman outfits.\n", " Griff explodes:\n", "\n", " GRIFF\n", " Who the devil belongs to this...\n", " gear?\n", "\n", " POWELL O.S.\n", " We do, Chief.\n", "\n", " And AL POWELL, a long, lean drink-of-water, and his\n", " partner, DON CARNEY, shorter, stockier, an ill-assorted\n", " pair, step into scene, looking somewhat uneasily at the\n", " irate Chief.\n", "\n", " GRIFF\n", " Oh? You two guys - what do you\n", " do around here?\n", "\n", " CARNEY\n", " Underwater demolition. Seamen\n", " First Class Powell...\n", " (indicating the taller)\n", " ...and I'm Carney.\n", "\n", " GRIFF\n", " (exasperated)\n", " Yeah, I know - so you're frogmen!\n", "\n", " POWELL\n", " We're off tin cans. We've looked\n", " this pig-boat over from fore-to-aft,\n", " but can't seem to find an empty\n", " locker to stow our stuff.\n", "\n", " GRIFF\n", " An empty locker in a sub? Are you\n", " kidding?\n", " (then, hands on hips)\n", " This whole deal is making less and\n", " less sense to me. What're frogmen\n", " doing aboard the Tiger Shark?\n", "\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 21.\n", "\n", "\n", " 57 (CONTINUED)\n", "\n", " CARNEY\n", " Following orders, like everybody\n", " else in the navy.\n", " (he takes out his\n", " and Powell's, hands\n", " them to Griff)\n", "\n", " Griff examines them, scratches the back of his neck,\n", " shakes his head.\n", "\n", " GRIFF\n", " Beats me.\n", " (then, handing\n", " back the orders)\n", " I don't envy you swabbies, swimmin'\n", " in that North Pole ice water.\n", "\n", " POWELL\n", " Meantime, where'll we stash these\n", " gizmos?\n", "\n", " Griff gestures for them to pick it up, and follow him.\n", "\n", " GRIFF\n", " Come on. Maybe we can hide it\n", " somewhere in the aft torpedo\n", " room.\n", "\n", " Powell and Carney pick up their gear, follow Griff aft.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 58 EXT. OPEN OCEAN - NIGHT - SPECIAL EFFECT SHOT -\n", " TIGER SHARK SNORKEL\n", "\n", " The only portion of the sub above water.\n", "\n", " NARRATOR\n", " Shortly before dawn, the Tiger\n", " Shark, running submerged at\n", " better than thirty knots, had\n", " left the Sound behind and was\n", " headed for the open sea.\n", "\n", "\n", " 59 INT. PASSAGE TO WARD ROOM - PAN SHOT WITH WENDOVER\n", "\n", " as he climbs down a ladder from an upper hatch into the\n", " passage to the ward room.\n", "\n", "- - -\n", "\n", " 5-27-59 \"ATOMIC SUBMARINE\" 22-23\n", "\n", " 59-A INT. WARD ROOM OF SUB - NIGHT\n", "\n", " The ward room, officers' dining room and \"social\"\n", " area, where the ship's officers, including Reef and\n", " Dave, the scientists, Carl Neilsen and Griff, are\n", " assembled. Griff has a microphone ready for the\n", " Captain, as he enters.\n", "\n", " Wendover sits down, as Griff steps back a pace or two.\n", " Wendover takes out his sealed orders, opens them,\n", " glances through them, then hands them to Reef.\n", "\n", " WENDOVER\n", " These are our orders, Reef. Better\n", " look them over while I fill in the\n", " crew.\n", "\n", " Reef takes them, and is reading them intently while\n", " the Captain is saying into the microphone:\n", "\n", " WENDOVER\n", " Now hear this: All men of the\n", " Tiger Shark. This is the Captain\n", " speaking.\n", " (he takes a deep breath)\n", " I know you're wondering about all\n", " the mystery -\n", "\n", " OMIT 60-62\n", "\n", "- - -\n", "\n", " 5-27-59 \"ATOMIC SUBMARINE\" 24.\n", "\n", " 63 REACTION SHOTS - ABOUT SUB\n", "\n", " In thc (a) torpedo room (b) crew dining room\n", " (c) control room, as desired, to intercut\n", " Wendover's briefing. All the faces are sober,\n", " xxx tense.\n", "\n", " WENDOVER O.S.\n", " (filter)\n", " Our mission is so dangerous it\n", " had to be kept completely secret.\n", " It's our job to find out what\n", " caused the disasters under the\n", " Arctic ice. Once we cross the\n", " Arctic Circle, any command you\n", " hear will be the real thing,\n", " remember that!\n", "\n", " 64 INT. WARD ROOM - NIGHT - MED. GROUP - ABOUT WENDOVER\n", "\n", " As he finishes, his face set, solemn, sober.\n", "\n", " WENDOVER\n", " That's about it. Now you know as\n", " much as I do - as much as anybody does -\n", " (a faint, grim smile)\n", " I assured Washington this was the\n", " best crew of the best sub in the\n", " fleet. I know you won't make a\n", " liar out of me!\n", "\n", " Wendover clicks off the mike, hands it to Griff,\n", " who solemnly hangs it up. Dave heaves a deep sigh,\n", " relieving tension, breathes a solemn:\n", "\n", " DAVE\n", " Well!\n", "\n", " Reef, grim, his face frozen, hands the orders back\n", " to Wendover.\n", "\n", " WENDOVER\n", " What do you think?\n", "\n", " REEF\n", " (slowly, considering)\n", " I think I should have joined the\n", " Air Force!\n", "\n", " And the members of the group manage a faint smile.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 25.\n", "\n", " 65 CLOSE SHOT - CARL\n", "\n", " Nervously he studies Reef. He is visible just beyond,\n", " looks up, meets the glance. Carl turns ostentatiously\n", " away.\n", "\n", " DISSOLVE TO:\n", "\n", " 66 MONTAGE SEQUENCE\n", "\n", " INSERT - CLOSEUP WENDOVER'S HAND WRITING IN LOG\n", "\n", " And the notation: MAY 18, 1200 HOURS, STILL RUNNING\n", " DUE NORTH VOYAGE UNEVENTFUL POSITION 165:20 W. LONGITUDE,\n", " LATITUDE 58' 10'...\n", "\n", " And over the moving hand we:\n", "\n", " SUPERIMPOSE:\n", "\n", " INSERT - ANIMATED MAP OF POLAR REGION\n", "\n", " With a moving course line of the Tiger Shark's voyage\n", " from Puget Sound north into Arctic waters. At this\n", " point she is possibly about opposite Juneau, but far\n", " out in the Pacific.\n", "\n", " Over above two scenes:\n", "\n", " NARRATOR\n", " A week later, the Tiger Shark was\n", " still running due north at cruising\n", " speed. So far the voyage was routine,\n", " uneventful. But the nearer they came\n", " to the Arctic Circle...\n", "\n", " OMIT 67\n", "\n", "- - -\n", "\n", " 26.\n", "\n", "\n", " 67 (CONTINUED)\n", "\n", " Over these scenes:\n", "\n", " NARRATOR (cont'd)\n", " ...the more the tension increased,\n", " the more tiny irritations were\n", " magnified into bitter feuds...the\n", " more the crewmen pondered their\n", " possible rate at the end of the\n", " voyage...\n", "\n", " FADE BACK IN - SUPERIMPOSED:\n", "\n", "\n", " 68 INSERT - THE ANIMATED POLAR MAP\n", "\n", " With the course line still moving north.\n", "\n", " END OF MONTAGE\n", "\n", " FADE OUT:\n", "\n", "\n", " FADE IN:\n", "\n", " 69 INSERT - CLOSEUP - WENDOVER WRITING IN LOG\n", "\n", " And now the entry reads: MAY 20, 0900 HOURS CROSSED\n", " ARCTIC CIRCLE NEARING DANGER AREA ALL WATCHES DOUBLED...\n", "\n", " NARRATOR\n", " On the morning of May 20, the\n", " Tiger Shark crossed the Arctic\n", " Circle into the critical area...\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 70 STOCK SHOTS - ARCTIC\n", "\n", " This should consist of moving fields of bergs, avalanches\n", " polar bears, walrus, etc.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 71 SPECIAL EFFECT SHOT - TIGER SHARK\n", "\n", " Running at periscope depth.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 27.\n", "\n", " 72 INT. CONTROL ROOM - DAY - POV - OPTICAL SHOT -\n", " SPECIAL EFFECTS - CLOSE SHOT TV MONITOR\n", "\n", " As the viewer apparently pans over a field of floating\n", " icebergs.\n", "\n", " DISSOLVE TO:\n", "\n", " OMIT\n", " 73\n", " 74\n", " 74A\n", "\n", " 75 INT. WARD ROOM - DAY - PANNING WITH REEF AND DAVE\n", "\n", " As they come in. Reef stops, glares as he sees Carl,\n", " sitting at one of the tables, making calculations on a\n", " pad, sipping coffee. Carl looks up, catches Reef's\n", " eye. Without a word, he finishes his coffee, picks up\n", " his material, and goes out. Dave watches this tableau\n", " curiously. When Carl is gone, Reef goes to the silex,\n", " pours a cup of coffee for himself and one for Dave.\n", " Dave joins him, puzzled.\n", "\n", " REEF\n", " (bitterly)\n", " You've asked why I stay a bachelor?\n", " There goes the best reason I know!\n", "\n", " DAVE\n", " (puzzled)\n", " Huh?\n", "\n", " REEF\n", " I might have a son like that!\n", "\n", "- - -\n", "\n", " (Revised - 11/14/58) 28.\n", "\n", "\n", " 76 TWO SHOT - AT TABIE\n", "\n", " As Reef and Dave sit down. Dave shakes his head, be-\n", " wildered.\n", "\n", " DAVE\n", " I don't get it. What's with\n", " you two?\n", "\n", " Reef sips his coffee.\n", "\n", " REEF\n", " I guess Skipper Neilsen re-\n", " tired before you enrolled\n", " at the Academy, didn't he?\n", "\n", " DAVE\n", " I guess.\n", "\n", " REEF\n", " (sincerely)\n", " One of the finest men, and\n", " officers, alive. A real hero\n", " - in the best sense of the word\n", " - in World War Two. He taught\n", " us Engineering and Design.\n", " Fought like a demon to develop\n", " atom subs.\n", "\n", " DAVE\n", " So?\n", "\n", " REEF\n", " (bitterly)\n", " So all of a sudden his only\n", " son drops out of school, be-\n", " gins making noises like a\n", " pacifist. A real egghead,\n", " do-gooder, and crackpot! 'Ban\n", " the atom tests! Junk the\n", " nuclear subs! Spend the mili-\n", " tary budgetfor peace!'\n", "\n", " DAVE\n", " (soberly)\n", " A lot of people think like\n", " that.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 29-38\n", "\n", " 76 (CONTINUED)\n", "\n", " REEF\n", " (earnestly)\n", " But they're not Skipper Neilsen's\n", " son!\n", " (sadly)\n", " It broke his heart. Then when some\n", " newspapers called Carl 'the honest,\n", " sincere son of a war-mongering father' -\n", " Captain Neilsen resigned from the Navy.\n", " (then)\n", " Oh, he still keeps his hand in - playing\n", " around with projects like the 'Lungfish' -\n", " but it broke him, all the same.\n", "\n", " DAVE\n", " (broad-mindedly)\n", " Have you ever talked to Carl - tried\n", " to see his side?\n", "\n", " REEF\n", " (sarcastically)\n", " 'His' side? I've seen it, all right.\n", " A nice, bright yellow!\n", "\n", " Dave looks questioningly at Reef. Reef drinks his\n", " coffee rapidly, then exits.\n", "\n", " CUT TO:\n", "\n", " OMIT\n", " 77\n", " 78-92\n", "\n", "- - -\n", "\n", " 39.\n", "\n", "\n", "\n", " 93 INT. TORPEDO ROOM - DAY - TRUCKING OR PANNING - WITH\n", " REEF\n", "\n", " As he enters, climbs down the ladder to the torpedo\n", " room, starts forward.\n", "\n", "\n", " 94 MED. FULL - ESCAPE HATCH\n", "\n", " Chester and Powell are working on equipment for the\n", " little sub, which is stored below the escape hatch and\n", " will be used to launch it from the belly of the Tiger\n", " Shark.\n", "\n", " Reef enters, addresses the crewmen.\n", "\n", " REEF\n", " Any of you men seen Dr. Neilsen?\n", "\n", " Chester turns.\n", "\n", " CHESTER\n", " He's here, Sir.\n", "\n", " Reef turns to the other men.\n", "\n", " REEF\n", " Tuttle, would you mind leaving\n", " us alone for a minute?\n", "\n", " Chester Tuttle looks at Powell, who shrugs.\n", "\n", " CHESTER\n", " Sure, Mr. Holloway.\n", "\n", "\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 40.\n", "\n", "\n", " 94 (CONTINUED)\n", "\n", " He and Powell go o.s. towards the men's dining room.\n", " Carl, sensing something, frowns, moves closer to Reef.\n", "\n", "\n", " 95 TWO SHOT\n", "\n", " CARL\n", " What is it?\n", "\n", " REEF\n", " (contemptuously)\n", " Your 'out.'\n", " (as Carl looks\n", " puzzled)\n", " This came for you.\n", " (indicating the\n", " radiogram)\n", "\n", " CARL\n", " My father! He's not - ?\n", "\n", " REEF\n", " Dead?\n", " (he shakes his\n", " head)\n", " Matter of fact, he's much better.\n", " He's left the hospital.\n", "\n", " He hands the radiogram to Carl, who scans it eagerly,\n", " relaxes, vastly relieved. Then he frowns, puzzled.\n", "\n", " CARL\n", " What did you mean: I'm 'out?'\n", "\n", " REEF\n", " Your father can be in Nome, Alaska,\n", " tomorrow. We have two choices:\n", " Ask them to send him out in a\n", " 'copter', and take you off, or the\n", " Shark can put back into Nome...\n", "\n", " Now Carl reacts angrily, hotly, for the first time.\n", "\n", " CARL\n", " You 'trade school boys' are all\n", " alike, aren't you? Anybody who\n", " doesn't happen to think like a\n", " little gold-braided puppet is,\n", " ipso facto, a coward!\n", "\n", " REEF\n", " (angrily)\n", " You said it. But I won't argue -\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 41.\n", "\n", "\n", " 95 (CONTINUED)\n", "\n", " CARL\n", " Wearing a uniform doesn't bestow\n", " an automatic monopoly on courage,\n", " Commander! It just so happens I'm\n", " not a coward - physical or mental -\n", " and before I'd risk my father's life...\n", "\n", " REEF\n", " (interrupting)\n", " We're all risking our lives!\n", "\n", " CARL\n", " That may be. But Dad stays where\n", " he is, and I'm staying here!\n", "\n", " REEF\n", " (studying him)\n", " You're really a mixed-up oddball,\n", " aren't you?\n", "\n", " CARL\n", " Perhaps. But the idea of willingly\n", " going to school to spend my life at\n", " a Paleozoic pastime that should have\n", " disappeared with the thunder-lizards -\n", " I'm referring to War - that strikes\n", " me as the worst cowardice of all -\n", " being spiritually yellow!\n", "\n", " REEF\n", " (sneering)\n", " You mean nothing is worth fighting\n", " for?\n", "\n", " CARL\n", " Peace - the dignity of man - the\n", " destiny of the human spirit!\n", " (hotly)\n", " Show me a man who says you win those\n", " by fighting wars, and I'll show you\n", " an idiot!\n", "\n", " REEF\n", " (bitterly)\n", " You may not win them. But without\n", " men like your father, to 'degrade'\n", " himself by fighting to preserve them -\n", " or as much as we have of them - they'd\n", " have disappeared, long ago!\n", "\n", " Carl reacts to this. The shot, for the first time, has\n", " struck home. But then, just as he opens his mouth to say\n", " something, there is a TREMENDOUS, RATTLING CRASH...as if\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 42.\n", "\n", "\n", " 95 (CONTINUED - 2)\n", "\n", " the Tiger Shark had shattered a huge, infinite pane of\n", " glass under water. The SCENE JUMPS. Reef looks around,\n", " terribly alarmed.\n", "\n", " REEF\n", " What the - ?\n", "\n", " Now there is the CLANGING of the GQ alarm, and over it,\n", " Wendover's voice.\n", "\n", " WENDOVER\n", " (filter)\n", " Mr. Holloway to the Con, please!\n", " On the double!\n", "\n", "\n", " 96 CUT TO COVER - DIALOGUE ABOVE\n", "\n", "\n", " 97 PAN WITH REEF\n", "\n", " He runs to the end of the torpedo room, begins scrambling\n", " up the ladder.\n", "\n", "\n", " 98 INT. CONTROL ROOM - DAY - MED. FULL - TOWARD INSTRUMENTS\n", "\n", " Present besides the seamen are the Skipper, Dave, Dr.\n", " Kent and Sir Ian. The scene is bedlam - the Sonar is\n", " screaming weirdly, the SHATTERING CRASHES are repeated\n", " over and over, and the scene JUMPS WILDLY. Dave points\n", " at the view screen, yells:\n", "\n", " DAVE\n", " The instruments have all gone\n", " crazy! And look at the view\n", " screen!\n", "\n", " The scientists peer over his shoulder, absorbed:\n", "\n", " SIR IAN\n", " (murmurs)\n", " Incredible! Absolutely!\n", "\n", " Kent's jaw sets tensely.\n", "\n", "\n", " 99 SPECIAL EFFECT SHOT - VIEW SCREEN AND INSTRUMENTS\n", "\n", " This is a wild extravaganza. The radar pattern is\n", " jumbled, overlaid with a half-dozen wave-forms. The\n", " dials and lights flicker and glow with utter insanity.\n", " And the view screen - it is a panoply of flashing, comet-\n", " like streaks, jagged streaks resembling lightning bolts,\n", " the while accompanied by staccato crashes, alarm bells,\n", " shattering bolts of thunder-like sound.\n", "\n", "- - -\n", "\n", " 43.\n", "\n", "\n", " 100 SHOOTING PAST THEM - AT HATCH\n", "\n", " As Reef comes scrambling up into the Con.\n", "\n", " REEF\n", " (shouting)\n", " What hit us???\n", "\n", " SIR IAN\n", " (drily)\n", " The end of the world!\n", "\n", " Wendover spreads his hands helplessly. Kent is still\n", " frowning at the view screen.\n", "\n", " KENT\n", " It doesn't seem possible, but -\n", " could it be an electrical storm\n", " center - ?\n", "\n", " SIR IAN\n", " (incredulous)\n", " Under water?\n", "\n", " KENT\n", " High-intensity arcs will burn,\n", " submerged. And millions of\n", " volts...discharged in random\n", " directions...\n", "\n", " WENDOVER\n", " (to Dave)\n", " Is there any way out of it?\n", "\n", " DAVE\n", " Seems to be all around...\n", "\n", " WENDOVER\n", " (grimly)\n", " What about down?\n", "\n", " DAVE\n", " (surprised)\n", " I...don't know!\n", "\n", " Wendover turns to Reef:\n", "\n", " WENDOVER\n", " We're dead if we stay here, that's\n", " for sure.\n", " (bluntly)\n", " Take her down! Maximum angle, maxi-\n", " mum depth! Maybe even a little more!\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 44-45-46\n", "\n", "\n", " 100 (CONTINUED)\n", "\n", " REEF\n", " Aye, aye.\n", "\n", " He moves to the helm, begins AD LIBBING directions to the\n", " helmsman. Wendover displays crossed fingers to Sir Ian,\n", " Kent and Dave.\n", "\n", "\n", " 101 SPECIAL EFFECT SHOT - TIGER SHARK\n", "\n", " (This may also intercut earlier dialogue)\n", "\n", " It seems to be buffeted by an underwater storm. The\n", " scene is lit by underwater lightning bolts, crashes like\n", " exploding skyrockets, the sub is tossed about like a\n", " chip. Finally, when it seems that nothing can survive\n", " the electrical barrage, we see the nose tilt down steeply,\n", " and the Shark glides deeper and deeper into the depths.\n", " CAMERA HOLDS as it goes below frame.\n", "\n", " DOWN WIPE TO:\n", "\n", "\n", " 102 DEEPER ANGLE - TILTING DOWN WITH SUB - SPECIAL EFFECTS\n", " SHOT\n", "\n", " As it noses deeper and deeper into the depths, the bolts\n", " of lightning seem to follow it down, probing after it.\n", " But at last, the bolts are left behind, the turbulent\n", " waters are calm, the crashing noise subsides. Then we\n", " see that the sub is almost on the bottom. At last, it\n", " does touch and --\n", "\n", " DISSOLVE:\n", "\n", "\n", " 103\n", " thru (OMITTED)\n", " 107\n", "\n", "\n", " 108 INT. WARD ROOM - NIGHT - GROUP SHOT - ABOUT TABLE -\n", " AT DINNER\n", "\n", " Present are the Skipper, Sir Ian, Dr. Kent, Carl and\n", " Reef. They are just finishing the meal.\n", "\n", " KENT\n", " (almost as if be-\n", " ginning a lecture,\n", " he clears his throat)\n", " Sir Ian has evolved a theory. At\n", " first, I wasn't about to buy it.\n", " (continued)\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 47.\n", "\n", "\n", " 108 (CONTINUED)\n", "\n", " KENT (cont'd)\n", " But, we have eliminated, one by\n", " one, every other logical explana-\n", " tion -\n", "\n", " The others turn eagerly to Sir Ian.\n", "\n", " SIR IAN\n", " It is rather fantastic -\n", "\n", " Sir Ian hesitates. Then, from beside his chair, he\n", " picks up a large, rolled chart. He unties the string\n", " binding it.\n", "\n", " SIR IAN\n", " Here is a chart of the Arctic\n", " region. On it I have plotted\n", " every instance of these strange\n", " phenomena - sinkings, electrical\n", " storms, our own experiences...\n", "\n", " He unrolls the chart on the table top. Reef and Wendover\n", " exchange a perplexed look. Then they get up, come around,\n", " peer down over Sir Ian's shoulder at the chart. Sir Ian,\n", " with a pencil, gestures on the chart.\n", "\n", "\n", " 109 INSERT - CLOSEUP - THE CHART OF THE ARCTIC\n", "\n", " And as Sir Ian's pencil moves, we see a circle of 'X's'\n", " about the North Pole, equidistant from it, each marked\n", " with a date, and, in print too fine to be read, the\n", " circumstances. As he points to one, in the Bering\n", " Straits...\n", "\n", " SIR IAN O.S.\n", " Here was where we encountered the\n", " electrical storm...The Sturgeon\n", " was lost just about this area.\n", " Others...here, here, and here...\n", "\n", "\n", " 110 GROUP SHOT\n", "\n", " As Sir Ian looks up from the chart, demands:\n", "\n", " SIR IAN\n", " Do you see it?\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 48.\n", "\n", "\n", " 110 (CONTINUED)\n", "\n", " WENDOVER\n", " See what?\n", "\n", " SIR IAN\n", " The pattern.\n", " (tapping the chart\n", " repeatedly)\n", " Each incident occurred almost\n", " precisely a thousand statute\n", " miles from the Pole. A line\n", " through the points of occurrence\n", " makes almost a complete circle...\n", "\n", "\n", " 111 INSERT - CLOSE SHOT - THE CHART\n", "\n", " As Sir Ian's pencil follows his remarks, tracing this\n", " concentric circle about the polar region.\n", "\n", " SIR IAN O.S.\n", " (continuing)\n", " ...about the North Pole.\n", "\n", "\n", " 112 GROUP SHOT\n", "\n", " Reef frowns, inquires bluntly:\n", "\n", " REEF\n", " Which adds up to what, Sir Ian?\n", "\n", " SIR IAN\n", " (significantly)\n", " I cannot accept the idea that\n", " these phenomena were either\n", " random, or natural.\n", " (a break)\n", " I believe they are motivated by...\n", " some sort of intelligence!\n", "\n", " The others react, Wendover and Reef exchange a look,\n", " then Wendover explodes angrily:\n", "\n", " WENDOVER\n", " You mean somebody has been -\n", "\n", " But Sir Ian interrupts him firmly:\n", "\n", " SIR IAN\n", " I did not mean to imply, neces-\n", " sarily, a 'human' intelligence.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 49.\n", "\n", "\n", " 112 (CONTINUED)\n", "\n", " CARL\n", " (earnestly)\n", " Then - what on earth kind of in-\n", " telligence is it, Sir Ian?\n", "\n", " SIR IAN\n", " Perhaps not 'on earth' at all.\n", " Perhaps it comes from beyond\n", " the earth!\n", "\n", "\n", " 113 REACTION SHOTS - MEMBERS OF THE GROUP - PANNING OVER\n", " FACES\n", "\n", " As they savor this alarming postulation.\n", "\n", "\n", " 114 TWO SHOT - REEF AND CARL\n", "\n", " Carl looks at him uncertainly. Reef asks grimly:\n", "\n", " REEF\n", " Can anything be done about it?\n", "\n", "\n", " 115 THREE SHOT - KENT, WENDOVER AND SIR IAN\n", "\n", " Sir Ian looks thoughtfully at the chart.\n", "\n", " SIR IAN\n", " I've been thinking about that.\n", " (tapping the chart)\n", " These appearances of...whatever\n", " we're dealing with...make almost\n", " a complete ring around the Pole.\n", " But there is what may be a signifi-\n", " cant gap, or break, in the ring...\n", "\n", "\n", " 116 INSERT - CLOSEUP - THE CHART\n", "\n", " Which centers, now, on the region in question, which\n", " Sir Ian's dialogue describes:\n", "\n", " SIR IAN O.S.\n", " ...right here...the Queen Victoria\n", " Sea area, near Franz Joseph Land...\n", "\n", "- - -\n", "\n", " 50.\n", "\n", "\n", " 117 GROUP SHOT\n", "\n", " As Sir Ian looks up from the chart, but Captain Wendover\n", " continues to study it absorbedly.\n", "\n", " SIR IAN\n", " (continuing)\n", " ...above Murmansk, and Finland.\n", "\n", " KENT\n", " (looking at\n", " Wendover)\n", " Suppose our theorizing is correct?\n", " Then this could be the next danger\n", " point!\n", "\n", " SIR IAN\n", " What if the Tiger Shark were to\n", " anticipate a bit? Perhaps be\n", " lying there waiting - ?\n", "\n", " Wendover frowns, intrigued by the possibility. Wen-\n", " dover beckons Reef over to the chart:\n", "\n", " WENDOVER\n", " We'll chart a course straight\n", " across the pole - to bring us\n", " here -\n", " (he looks up into\n", " the tense faces)\n", " - the Queen Victoria Sea!\n", "\n", " Sir Ian and Kent exchange a look. Reef looks at Carl,\n", " who frowns tensely.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 118 (OMITTED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 51-52\n", "\n", " 119 INSERT - ANIMATED MAP OF POLAR REGION\n", "\n", " And now the progress line of the Tiger Shark's voyage\n", " moves directly across the Pole. As it reaches the\n", " Pole, a sign pops in: JUNE 1, 0730\n", "\n", " NARRATOR\n", " So - swiftly, implacably, the\n", " Tiger Shark moved across the\n", " Top of the World towards her\n", " rendezvous with...what?\n", "\n", " DISSOLVE TO:\n", "\n", " 120 SPECIAL EFFECT SHOT - TIGER SHARK UNDER THE ICE\n", "\n", " OMIT\n", " 121\n", " 122\n", "\n", " 123 INT. CONTROL ROOM - DAY - INSERT - CLOSE SHOT -\n", " POLAR CHART\n", "\n", " As Dave's hands point out their position, course, and\n", " destination.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 53-54\n", "\n", " 123 (CONTINUED)\n", " DAVE O.S.\n", " We've been heading due south, 30\n", " degrees longitude. By my reckoning\n", " we're about ten angular seconds...\n", "\n", " 124 GROUP SHOT - DAVE REEF WENDOVER SIR IAN\n", "\n", " About Dave's navigator position.\n", "\n", " DAVE\n", " (continuing)\n", " ...short of the Arctic meridian, and\n", " that should be...\n", "\n", " SIR IAN\n", " (picking it up)\n", " ...the critical point - if we're on\n", " the right track.\n", "\n", " WENDOVER\n", " Prepare to surface. We'll run at\n", " flank speed.\n", "\n", " OMIT\n", " 125-128\n", "\n", " 129 SPECIAL EFFECT SHOT - TIGER SHARK UNDERWATER\n", "\n", " It picks up speed, rises towards the surface.\n", "\n", " DISSOLVE TO:\n", "\n", " 130 STOCK SHOT - BOW OF SUB BREAKING SURFACE\n", "\n", " OMIT\n", " 131\n", "\n", " 132 GROUP SHOT - INT. CONTROL ROOM - AT TV SCREEN - DAVE,\n", " REEF, OPERATOR, WENDOVER, SIR IAN\n", "\n", " There is a shout from the operator at the TV screen.\n", "\n", " OPERATOR\n", " Mr. Milburn - quick - look at\n", " this!\n", "\n", " They all move quickly to the TV screen.\n", "\n", "- - -\n", "\n", " REVSIED 5-26-59 \"ATOMIC SUBMARINE\" 55.\n", "\n", " 133 SPECIAL EFFECT SHOT - ICEBERG IN WATER - ON TV SCREEN\n", "\n", " We see a giant iceberg in the water.\n", "\n", " 134 REACTION SHOT - GROUP\n", "\n", " 135 SPECIAL EFFECT SHOT - THEIR P.O.V. - THE ICEBERG -\n", " ON TV SCREEN\n", "\n", " Now we see what appears to be a strange glow of\n", " energy in the water beneath it. The iceberg seems\n", " to creak and groan from internal pressures.\n", "\n", " 136 CUTS TO COVER - THE CATACLYSM - SPECIAL EFFECT SHOT\n", "\n", " As the ball of energy seems to melt, rend and then\n", " literally explode the huge mass of ice. The iceberg\n", " disintegrates and great masses of ice rush away from\n", " the explosion center.\n", "\n", " 137 SPECIAL EFFECT SHOTS - CLOSER CUTS, THE RUSHING ICE\n", "\n", "- - -\n", "\n", " 56.\n", "\n", "\n", " 138 INT. CONTROL ROOM - AT TV SCREEN\n", "\n", " As Reef yells:\n", "\n", " REEF\n", " Skipper! Those chunks of ice -\n", " coming right at us!\n", "\n", " The Skipper reacts, instantly yells:\n", "\n", " WENDOVER\n", " Dive! Dive!\n", "\n", "\n", " 139 (OMITTED)\n", "\n", "\n", " 140 INT. TIGER SHARK - STOCK SHOTS - ABOUT BOAT\n", "\n", " During emergency dive procedure. THE DIVE ALARM is\n", " sounding.\n", "\n", "\n", " 141 REACTION SHOTS - PASSENGERS\n", "\n", " Carl, Sir Ian and Dr. Kent.\n", "\n", "\n", " 142 SPECIAL EFFECT SHOT - TIGER SHARK\n", "\n", " As it institutes emergency dive, begins to move beneath\n", " the waves. This INTERCUTS WITH:\n", "\n", "\n", " 143 SPECIAL EFFECT SHOT - LARGE CHUNK OF ICE\n", "\n", " It rushes at express train speed directly toward Tiger\n", " Shark.\n", "\n", "\n", " 144 INT. CONTROL ROOM - DAY - FULL SHOT\n", "\n", " The Captain, Reef, and Dave and the crewmen work des-\n", " perately to get their sub into the safety of the depths.\n", " But now Dave, at the TV view screen, reacts in a frenzy\n", " to what he sees:\n", "\n", " DAVE\n", " Captain! Come here!\n", "\n", " But the Captain is too busy.\n", "\n", "- - -\n", "\n", " 57.\n", "\n", "\n", " 145 SPECIAL EFFECT SHOT - UNDERWATER - ICE AND SUB\n", "\n", " As the Tiger Shark has almost made it to safety, the\n", " great bulk of rushing ice lurches into frame, and just\n", " collides with the stern of the Tiger Shark. There is\n", " a great CLANGING SHOCK and the Tiger Shark staggers\n", " like a stricken fish, then quickly rights herself.\n", " But the screws slow down, then stop.\n", "\n", "\n", " 146 INT. CONTROL ROOM - DAY - FULL SHOT\n", "\n", " Overlapping action above, as the scene LURCHES, and the\n", " men strive to maintain their balance. Dave is still\n", " oblivious to everything except what he sees on the\n", " screen.\n", "\n", " WENDOVER\n", " (snaps, to Reef)\n", " Determine extent of damage,\n", " immediately.\n", "\n", " REEF\n", " (grabbing an\n", " intercom phone)\n", " After torpedo room: Report!\n", "\n", " GRIFF'S VOICE\n", " (over intercom)\n", " This is Griff, Captain. Moderate\n", " leak in overhead plates. Damage\n", " to main drive shaft housing.\n", " Forced to stop reactor engines.\n", "\n", " REEF\n", " We're dead in the water!\n", "\n", " DAVE\n", " (insistently)\n", " Skipper! You've got to see this!\n", " You too, Sir Ian!\n", "\n", " Wendover and Sir Ian exchange a look, then move over\n", " behind Dave, look over his shoulder, react in astonish-\n", " ment.\n", "\n", " WENDOVER\n", " Well, I'll be - !\n", "\n", " SIR IAN\n", " (wryly)\n", " I'll be another!\n", "\n", "- - -\n", "\n", " 58.\n", "\n", "\n", " 147 SPECIAL EFFECT SHOT - ON TELEVISION SCREEN\n", "\n", " On the screen is a great, oval-shaped, glowing ellipse-\n", " saucer-shaped. It is perhaps three-hundred feet in\n", " diameter. On top is a great, blazing turret of light,\n", " remotely resembling a lighthouse beacon - seemingly the\n", " 'eye' of the thing. Beneath it are some sort of pro-\n", " tuberances, perhaps a landing or settling gear. While\n", " they watch, the disc begins to recede from them.\n", "\n", "\n", " 148 THREE SHOT - WENDOVER, SIR IAN, DAVE\n", "\n", " And then Reef joins them.\n", "\n", " REEF\n", " What is it?\n", "\n", " And then he catches sight of the thing on the view-\n", " screen, frowns tensely.\n", "\n", "\n", " 149 SPECIAL EFFECT SHOT - THE TV SCREEN\n", "\n", " And now the saucer grows smaller and smaller, until\n", " finally it is only a point of light.\n", "\n", "\n", " 150 GROUP SHOT - UP INTO FACES\n", "\n", " WENDOVER\n", " (snaps)\n", " Course and speed?\n", "\n", " DAVE\n", " (adjusting dials)\n", " Speed...about twenty-two knots.\n", " Course...due north!\n", "\n", " SIR IAN\n", " (a thoughtful murmur)\n", " Directly towards the Pole!\n", "\n", " They look at him, trying to fathom his thoughts.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 151 INT. CREW DINING ROOM - DAY - GROUP SHOT - ABOUT GRIFF,\n", " CHESTER, POWELL AND CARNEY\n", "\n", " Griff, in his undershirt, covered with grease and dirt,\n", " has obviously been laboring mightily at the damage.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 5-27-59 \"ATOMIC SUBMARINE\" 59.\n", "\n", " 151 (CONTINUED)\n", "\n", " Powell and Carney are getting into full aqualung gear,\n", " including black rubber suits. Griff looks them over.\n", "\n", " GRIFF\n", " Okay - you two flounders look\n", " about set.\n", " (he hefts the air tanks\n", " on Powell's back and\n", " admonishes)\n", " And remember - this ain't no swimming\n", " pool - we need a damage report!\n", "\n", " POWELL\n", " (mutters)\n", " See what I mean about volunteering -\n", "\n", " But before he can finish the sentence, Griff pulls the\n", " face mask down over his nose and mouth. Powell and\n", " Carney exit toward the stern.\n", "\n", " 152 INT. WARD ROOM - DAY - CLOSE SHOT - DRAWING OF SAUCER -\n", " ON TABLE TOP\n", "\n", " With Sir Ian's hand, holding a pencil, completing the\n", " sketch.\n", "\n", " SIR IAN O.S.\n", " ...a pure oval shape, with this\n", " cyclops-like eye, or turret, on\n", " top. I'd estimate its diameter\n", " at 300 feet. No discernible ori-\n", " fices...\n", "\n", " 153 GROUP SHOT - ABOUT TABLE - TOWARD DOOR\n", "\n", " This is a discussion group, or 'seminar' - and in the\n", " group are Sir Ian, Carl, Reef, Dave and Wendover. Sir\n", " Ian leans back, holding the pencil, while his sketch\n", " is passed around from one to the next. With a faintly\n", " amused expression, Sir Ian murmurs thoughtfully:\n", "\n", " SIR IAN\n", " 'The Eye of Cyclops..!'\n", "\n", " CARL\n", " (looking up from the\n", " drawing)\n", " What did you say, Sir Ian?\n", "\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 60.\n", "\n", "\n", " 153 (CONTINUED)\n", "\n", " SIR IAN\n", " Just musing about our 'one-eyed\n", " adversary' and the legend of\n", " Homer.\n", " (to the group)\n", " 'Cyclopes' were the Sons of\n", " Heaven, who forged the thunder-\n", " bolts thrown by Zeus.\n", "\n", " WENDOVER\n", " (grimly)\n", " Our 'Cyclops' throws quite a\n", " thunderbolt, itself!\n", "\n", " Now Dr. Kent appears in the doorway, carrying a well-\n", " filled briefcase, from which he has extracted a manila\n", " folder.\n", "\n", " KENT\n", " (with satis-\n", " faction)\n", " I knew there was something\n", " familiar -\n", "\n", " He puts down the briefcase, takes an 8 x 10 photograph\n", " from the manila folder, then lays the folder aside.\n", " He tosses the photograph on the table.\n", "\n", " KENT\n", " Take a look.\n", "\n", " They peer at it curiously, then someone lays Sir Ian's\n", " sketch alongside it.\n", "\n", "\n", " 154 INSERT - CLOSEUP - THE PHOTO AND SKETCH\n", "\n", " And we see that the object in the photo - a 'flying\n", " saucer' - closely resembles the sketch.\n", "\n", " KENT O.S.\n", " The picture was taken by an\n", " amateur astronomer, over\n", " New Mexico.\n", "\n", "\n", " 155 GROUP SHOT\n", "\n", " As all examine the photos, astonished.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 61.\n", "\n", "\n", " 155 (CONTINUED)\n", "\n", " KENT\n", " I've had it since I served\n", " on the Air Force Evaluation\n", " Board, for UFO reports.\n", "\n", " As Sir Ian looks up inquiringly, Carl explains:\n", "\n", " CARL\n", " Unidentified Flying Objects.\n", "\n", " REEF\n", " (incredulously)\n", " Then...this is a 'flying\n", " saucer?'\n", "\n", " KENT\n", " That was the popular designation.\n", "\n", " CARL\n", " (curiously)\n", " But...weren't all the sightings\n", " in the sky - not under water?\n", "\n", " Sir Ian picks up the photo, studies it as he reflects:\n", "\n", " SIR IAN\n", " This would explain why there\n", " were never any reports of land-\n", " ings. It's possible that who-\n", " ever - or whatever - inhabits\n", " the craft is not a land creature,\n", " but a form of marine life.\n", "\n", " DAVE\n", " (a wry smile)\n", " That would make our 'little green\n", " men' actually 'little grean fish'???\n", "\n", " REEF\n", " (shakes his head,\n", " marvelling)\n", " Undersea flying saucers!\n", "\n", "\n", " 156 SHOOTING PAST GROUP - TOWARD DOOR\n", "\n", " as Griff appears in it, dishevelled as before, but with\n", " a look of satisfaction. He makes a gesture of knocking,\n", " says:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 62.\n", "\n", "\n", " 156 (CONTINUED)\n", "\n", " GRIFF\n", " Excuse me, Skipper---\n", "\n", " WENDOVER\n", " Yes, Griff?\n", "\n", " GRIFF\n", " All internal repairs completed,\n", " and Frogmen report exterior\n", " damage minor.\n", "\n", " REEF\n", " (with eager\n", " satisfaction)\n", " Then we can get under way?\n", "\n", " As Griff nods, all look toward Wendover for orders.\n", "\n", " WENDOVER\n", " (snaps at Dave)\n", " You plotted the course of\n", " Cyclops?\n", " (as Dave nods)\n", " Then that's our course! Wherever\n", " he goes, we go.....until we get\n", " him!\n", "\n", " SIR IAN\n", " (an absent murmur)\n", " Or, perhaps, until he gets us?\n", "\n", " A look passes among them; that possibility is by no\n", " means remote.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 157 INSERT - ANIMATED MAP OF POLAR AREA\n", "\n", " with the Tiger Shark course moving back and forth, up and\n", " around, the Pole.\n", "\n", " NARRATOR\n", " So, the Tiger Shark began\n", " relentlessly stalking her\n", " space-enemy. Up to the Pole,\n", " back to the Arctic Circle...\n", " again, and again...a week...\n", " a fortnight, a month....\n", "\n", " DISSOLVE TO:\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 63.\n", "\n", " 158 SPECIAL EFFECT SHOT - THE TIGER SHARK\n", "\n", " moving implacably through undersea caverns, between\n", " hidden mountains, under glaciers, etc.\n", "\n", " (Omit semi-montage about Tiger Shark).\n", "\n", " DISSOLVE TO:\n", "\n", " 159 INSERT - ANIMATED MAP OF POLAR AREA\n", "\n", " And now the lines for the voyage make up almost\n", " a star-design about the Pole, up and back, to all\n", " quarters.\n", "\n", " Over these scenes:\n", "\n", " NARRATOR\n", " Never a glimpse of their enemy,\n", " but there were reports...new disasters,\n", " new ships and lives lost. Invariably,\n", " the Tiger Shark made for the scene,\n", " only to arrive after Cyclops had left.\n", " For all its desperatian, the pursuit\n", " seemed fruitless.\n", "\n", " 160 SPECIAL EFFECT SHOT - TIGER SHARK CRUISING THROUGH ICE\n", "\n", " NARRATOR\n", " Then, on July 3, Dr. Kent and Sir\n", " Ian held an urgent discussion with\n", " Reef and the Skipper...\n", "\n", " 161 INT. WARD ROOM - NIGHT - CLOSE DOWN SHOT - CHART OF\n", " VOYAGE\n", "\n", " which appears like a great star - away from the Pole,\n", " back to it - away - back, as in the animated chart\n", " earlier. Now Kent's voice, desperately urgent, comes\n", "\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 64.\n", "\n", "\n", " 161 (CONTINUED)\n", "\n", " over, as his hand taps a pencil repeatedly directly on\n", " the Pole.\n", "\n", " KENT (o.s.)\n", " Why does Cyclops invariably\n", " return to the Pole between\n", " attacks - never two in\n", " succession. Always away...\n", " and back....away....and\n", " back....\n", "\n", "\n", " 162 GROUP SHOT - KENT, REEF, WENDOVER AND SIR IAN\n", "\n", " about the chart.\n", "\n", " SIR IAN\n", " We've asked ourselves that -\n", " over and over - a thousand\n", " times.\n", "\n", " WENDOVER\n", " (irritably)\n", " But answers are what we need\n", " - not more questions!\n", "\n", " KENT\n", " (significantly)\n", " We think maybe, now, we have\n", " them!\n", "\n", " Reef and Wendover react.\n", "\n", " KENT\n", " We took for granted his source\n", " of energy was nuclear. But\n", " suppose it isn't at all - what\n", " if it's magnetic?\n", "\n", " SIR IAN\n", " We harness energy on a small\n", " scale by cutting magnetic lines\n", " of force. Maybe Cyclops does\n", " it on a super scale....\n", "\n", " KENT\n", " (significantly\n", " again)\n", " The North Pole is the positive\n", " end of the biggest magnet of\n", " all - the Earth itself!\n", "\n", "- - -\n", "\n", " 65.\n", "\n", "\n", " 163 TWO SHOT - REEF AND WENDOVER\n", "\n", " Wendover considers this gravely as Reef responds:\n", "\n", " REEF\n", " What you're getting at: You\n", " think our saucer-friend has\n", " to return to the Pole, regularly\n", " to....recharge his batteries?\n", "\n", "\n", " 164 TWO SHOT - SIR IAN AND KENT\n", "\n", " SIR IAN\n", " That may be over-simplifying,\n", " but---\n", "\n", " He doesn't finish the sentence, obviously implying that\n", " Reef's conclusion agrees with their own.\n", "\n", " KENT\n", " Now: Our present tactics are\n", " hopeless. But suppose we\n", " could place ourselves between\n", " Cyclops and the Pole....\n", "\n", "\n", " 165 GROUP SHOT\n", "\n", " as Sir Ian picks up Kent's thought:\n", "\n", " SIR IAN\n", " ....in such a way as to prevent\n", " his returning to it and, as you\n", " put it....\n", " (a nod toward\n", " Reef)\n", " ...'recharging his batteries'?\n", "\n", " KENT\n", " If we were lucky enough to catch\n", " him with his power depleted....\n", "\n", " WENDOVER\n", " (triumphantly)\n", " ....we could polish him off with\n", " an atomic fish!\n", " (claps Reef on\n", " the shoulder)\n", " That's it, Reef! We'll wait until\n", " the next report of trouble. Then\n", " we'll lay on the bottom, right in\n", " his path, and bushwack him!\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 66.\n", "\n", "\n", " 165 (CONTINUED)\n", "\n", " SIR IAN\n", " (frowns, puzzled)\n", " 'Bushwack?'\n", "\n", " REEF\n", " (a faint smile)\n", " American tactical expression.\n", "\n", " And as Reef and Wendover exchange a look, we...\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 166 SPECIAL EFFECT SHOT - TIGER SHARK\n", "\n", " cruising at slow speed under the ice.\n", "\n", " NARRATOR\n", " So - a chance of tactics. Now\n", " the Tiger Shark cruised almost\n", " over the North Pole, waiting\n", " for the radio report that would\n", " put the plan into effect...\n", " On July 13, at 1600 hours, it\n", " came!\n", "\n", "\n", " 167 INT. WARD ROOM - DAY - MED. SHOT - REEF\n", "\n", " drinking coffee. Behind him, now, we see Dave burst\n", " in excitedly from passage way.\n", "\n", " DAVE\n", " We got it, Reef!\n", "\n", " Reef springs to his feet excitedly.\n", "\n", " REEF\n", " Cyclops?\n", "\n", " DAVE\n", " Sounds like it! Distress call,\n", " from a small freighter, between\n", " Ellesmere Island and Greenland.\n", " One mayday, then...nothing.\n", "\n", " As Reef moves toward the door, he demands:\n", "\n", " REEF\n", " Where's the Skipper?\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 67.\n", "\n", "\n", " 167 (CONTINUED)\n", "\n", " DAVE\n", " Already in the Con!\n", "\n", " The two men exit. Now CAMERA ROLLS IN FOR CLOSEUP OF\n", " CARL, who, standing in the door, has overheard the\n", " conversation.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 168 INT. CONTROL ROOM - NIGHT - GROUP SHOT - WENDOVER, DAVE,\n", " REEF, KENT AND SIR IAN\n", "\n", " Dave is working over his navigation chart. The tension\n", " in the Con is electric. Dave takes a compass, swings a\n", " pair of arcs on the chart, looks up to announce:\n", "\n", " DAVE\n", " We're here!\n", "\n", " Wendover and the others cluster around.\n", "\n", " WENDOVER\n", " You're sure?\n", "\n", " Dave indicates on the chart.\n", "\n", "\n", " 169 INSERT - THE POLAR CHART\n", "\n", " with a distinct line drawn from the reported sinking to\n", " the Pole and another line...the course of the Tiger\n", " Shark, just now intercepting it.\n", "\n", " DAVE (o.s.)\n", " Here's where Cyclops knocked\n", " off the freighter. Here's the\n", " way he has to head for home...\n", " the Pole. And...\n", " (indicates the\n", " intersection)\n", " Here we are...right in his path!\n", "\n", "\n", " 170 GROUP SHOT\n", "\n", " WENDOVER\n", " (decisively)\n", " All right, then we're for it,\n", " right here. Sonar and TV, scan\n", " the bottom, find a nice spot for\n", " us to lie and wait for him --\n", " maybe a cave, or a valley.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 68-69-70\n", "\n", " 170 (CONTINUED)\n", "\n", " WENDOVER (cont'd)\n", " (to Reef)\n", " Soon as we're on the bottom, go\n", " through the boat, batten down\n", " whatever makes a noise, and turn off\n", " anything that hums or buzzes. I\n", " want absolute silence!\n", "\n", " They AD LIB further commands and movement about the\n", " con as we...\n", "\n", " DISSOLVE TO:\n", "\n", " 171 SPECIAL EFFECT SHOT - THE TIGER SHARK\n", "\n", " as she eases her way deep under the ice, sonar PINGS\n", " probing the way. At last, she eases down onto the\n", " bottom in a hallow, or undersea cave. The propellers\n", " are still, the ship lies silent, motionless, seemingly\n", " dead.\n", "\n", " DISSOLVE TO:\n", "\n", " OMIT\n", " 172\n", " 173\n", " 174\n", "\n", " 175 SPECIAL EFFECT SHOT - TIGER SHARK ON BOTTOM\n", "\n", " There is no sign of life whatever.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 71.\n", "\n", "\n", " 175 (CONTINUED)\n", "\n", " NARRATOR\n", " Hour upon hour, the Tiger Shark\n", " lay in its deep-six ambush...\n", " The Arctic depths were as still\n", " and silent as an uninhabited\n", " world. Then, at 0600 hours....\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 176 INT. CONTROL ROOM - DAY - TRUCKING AND PANNING ABOUT\n", " THE CON\n", "\n", " We see Kent and Sir Ian, dozing in their chairs. Wendover\n", " himself is nodding. Now CAMERA MOVES to Dave, who yawns\n", " prodigiously, reaches for his coffeecup, finds to his dis-\n", " gust that it is empty. Then, almost absent-mindedly, he\n", " glances teward the gauges and view-plates. He reacts.\n", "\n", "\n", " 177 INSERT - CLOSE UP - METER\n", "\n", " which is labeled: RADIATION LEVEL. The needle-flickers,\n", " makes a slight jump, then rises to a positive reading.\n", "\n", "\n", " 178 CLOSE SHOT - DAVE\n", "\n", " He reacts, all attention now. He turns dials to get a\n", " bearing on the source of radiation. Then he swings around\n", " in his chair to the television monitor, moves the dials to\n", " focus the TV camera in the direction of the radiation.\n", "\n", "\n", " 179 SPECIAL EFFECT SHOT - OPTICAL SHOT OF TV SCREEN\n", "\n", " And very faintly, in the extreme distance, we see a tiny\n", " speck of light growing slowly larger.\n", "\n", "\n", " 180 PAST DAVE - AT OTHERS\n", "\n", " as Dave calls in a sharp whisper:\n", "\n", " DAVE\n", " Skipper! Dr. Kent!\n", "\n", " Instantly, the men come alert, move over behind him.\n", "\n", " WENDOVER\n", " What is it?\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 72.\n", "\n", "\n", " 180 (CONTINUED)\n", "\n", " In answer, Dave points to the view screen. Both men re-\n", " act, exchange a look.\n", "\n", " KENT\n", " That's him! Has to be!\n", "\n", " DAVE\n", " (checking dials)\n", " Range, about twenty-two miles.\n", " Speed....I give it fourteen\n", " knots.\n", "\n", " KENT\n", " (checking in-\n", " struments)\n", " His radiation level is very\n", " low!\n", " (to Wendover)\n", " That would confirm our theory -\n", " about having to return to the\n", " Pole!\n", "\n", " WENDOVER\n", " (grimly)\n", " It better be correct!\n", " (to Dave)\n", " Get me a setup on the TDC -\n", " range, about seven miles!\n", "\n", "\n", " 181 FULL SHOT - THE CONTROL ROOM\n", "\n", " As Wendover moves to the intercom, Dave goes to work on\n", " the torpedo data computer. Sir Ian and Kent study the\n", " instruments.\n", "\n", " WENDOVER\n", " (into phone)\n", " Skipper to Exec: Arm atomic\n", " warheads! Load 1 and 2...\n", " Report to Con pronto!\n", "\n", " Part of the above overlaps following:\n", "\n", "\n", " 182 INT. TORPEDO ROOM - DAY - GROUP SHOT - REEF, GRIFF\n", " AND DETAIL\n", "\n", " As the VOICE comes over the intercom, Griff reacts,\n", " looks at Reef:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 73.\n", "\n", "\n", " 182 (CONTINUED)\n", "\n", " GRIFF\n", " Sounds like we mean business!\n", "\n", " Reef doesn't deign to answer. He gestures to Griff:\n", "\n", " REEF\n", " Griff, you arm No. 2. I'll\n", " handle No. 1.\n", "\n", " Griff nods, moves over to one of the panel boards and\n", " starts manipulating it. Meantime, Reef is doing the\n", " same thing on another panel.\n", "\n", "\n", " 183 CUTS TO COVER - THIS ACTION\n", " thru\n", " 183-C\n", "\n", "\n", " 184 SHOOTING OVER TORPEDO CONTROL PANELS - AT REEF, GRIFF\n", " AND DETAIL\n", "\n", " As the arming is finished, and Reef moves from dials.\n", "\n", " REEF\n", " Load One and Two. Then open\n", " outer doors!\n", " (grimly)\n", " And stand by for action!\n", "\n", " Reef hurries to the far end of the torpedo room, and be-\n", " gins climbing the ladder. He glances back to see that\n", " Griff and another man are manipulating dials to open\n", " the inner tube doors.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 185 SPECIAL EFFECT SHOT - EXT. OF TIGER SHARK - CLOSE ON\n", " TORPEDO TUBES\n", "\n", " as we see the outer doors slowly lift, disclosing the\n", " torpedo warheads inside.\n", "\n", "\n", " 186 INT. CONTROL ROOM - DAY - FULL SHOT - PAST DAVE IN F.G.\n", "\n", " as Dave sings out:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 74.\n", "\n", "\n", " 186 (CONTINUED)\n", "\n", " DAVE\n", " Range: Now fifteen miles!\n", "\n", " Now Reef climbs up into the con, demands:\n", "\n", " REEF\n", " You're sure it's Cyclops?\n", "\n", " WENDOVER\n", " (gesturing toward\n", " TV screen)\n", " Take a look.\n", "\n", " Reef comes over, stares, fascinated, down over Dave's\n", " shoulder.\n", "\n", "\n", " 187 SPECIAL EFFECT SHOT - OPTICAL SHOT - VIEW SCREEN\n", "\n", " And now, in the TV screen, we can just make out the\n", " faint outlines of the approaching saucer - the oval\n", " shape, the glowing turret-eye. O.s., Dave now sings\n", " out:\n", "\n", " DAVE (o.s.)\n", " Range...now 14.5 miles.\n", "\n", "\n", " 188 TWO SHOT - DAVE AND REEF\n", "\n", " as they look down anxiously at the screen. Now there\n", " is a VOICE over the intercom:\n", "\n", " GRIFF (o.s.)\n", " (filter)\n", " Griff to Skipper. Tubes One\n", " and Two loaded. Outer doors\n", " open. Ready to fire.\n", "\n", " WENDOVER (o.s.)\n", " (obviously into\n", " phone)\n", " Stand by!\n", "\n", " WIPE TO:\n", "\n", "\n", " 189 (OMITTED)\n", "\n", "- - -\n", "\n", " 75.\n", "\n", "\n", " 190 SPECIAL EFFECT SHOT - THE CYCLOPS - MOVING TOWARD CAMERA\n", "\n", " Through an undersea valley, the Cyclops moves silently,\n", " its glowing eye probing ahead for possible danger.\n", "\n", "\n", " 191 SPECIAL EFFECT SHOT - THE TIGER SHARK\n", "\n", " still lying silently, in wait.\n", "\n", "\n", " 192 SPECIAL EFFECT SHOT - CYCLOPS - MOVING DIRECTLY TOWARD\n", " CAMERA\n", "\n", " It is approaching very near, now.\n", "\n", "\n", " 193 INT. CONTROL ROOM - DAY - TRUCKING AND PANNING - OVER\n", " FACES\n", "\n", " ENDING on Dave and Reef. Now Dave sings out:\n", "\n", " DAVE\n", " Range....ten miles!!\n", "\n", "\n", " 194 SPECIAL EFFECT SHOT - OVER TIGER SHARK - AT CYCLOPS\n", "\n", " This is the first tie-in shot, showing the relative posi-\n", " tions of the two craft. The Cyclops should still be a\n", " considerable distance away - merely a glowing spot in the\n", " water.\n", "\n", "\n", " 195 INT. TORPEDO ROOM - DAY - PANNING OVER TENSE FACES OF\n", " TORPEDO DETAIL - ENDING ON GRIFF\n", "\n", " Griff stands near the firing buttons for tubes One and\n", " Two - clearly labeled. The tension is building.\n", "\n", "\n", " 196 INT. CONTROL ROOM - DAY - CLOSE SHOT - VIEW SCREEN -\n", " SPECIAL EFFECT SHOT\n", "\n", " And on it, we see that Dave has adjusted cross-hairs for\n", " the Target Zero. The saucer moves across the view\n", " screen, toward the Target Zero.\n", "\n", " DAVE (o.s.)\n", " Range...eight miles....\n", " Seven and three-quarters.....\n", "\n", "- - -\n", "\n", " 76.\n", "\n", "\n", " 197 SPECIAL EFFECT SHOT - CYCLOPS\n", "\n", " It looms huge and awesome IN CAMERA, now, sweeps by and\n", " above CAMERA and o.s. There is an awful RUSHING SOUND\n", " as it sweeps overhead.\n", "\n", "\n", " 198 INT. CONTROL ROOM - DAY - SHOOTING PAST DAVE AND REEF -\n", " AT OTHERS\n", "\n", " as Dave sings out:\n", "\n", " DAVE\n", " Zero minus ten....nine....\n", "\n", "\n", " 199 SPECIAL EFFECT SHOT - OPTICAL SHOT - VIEW SCREEN\n", "\n", " The Cyclops approaches closer and closer to the 'x.'\n", "\n", " DAVE (o.s.)\n", " ....eight...seven.....six....\n", " five....\n", "\n", "\n", " 200 INT. CONTROL ROOM - DAY - SHOOTING PAST DAVE AND REEF -\n", " AT OTHERS\n", "\n", " DAVE\n", " ....four....three....two....\n", "\n", "\n", " 201 SPECIAL EFFECT SHOT - OPTICAL SHOT - VIEW SCREEN\n", "\n", " And now the Cyclops moves directly into the cross of the\n", " 'x.'\n", "\n", " DAVE (o.s.)\n", " ....one....Target.....\n", "\n", "\n", " 202 INT. CONTROL ROOM - DAY - SHOOTING PAST DAVE AND REEF -\n", " AT GROUP\n", "\n", " DAVE\n", " (excitedly)\n", " Zero!\n", "\n", " WENDOVER\n", " (barks into\n", " intercom)\n", " Fire Number One!\n", "\n", "- - -\n", "\n", " 77.\n", "\n", "\n", " 203 INT. TORPEDO ROOM - DAY - MED. SHOT - GRIFF AND OTHERS\n", "\n", " as Griff moves swiftly, presses the firing lever, then\n", " barks into intercom:\n", "\n", " GRIFF\n", " Number One fired!\n", "\n", "\n", " 204 SPECIAL EFFECT SHOT - CLOSE ON TORPEDO TUBE\n", "\n", " as the first torpedo bursts out and speeds away toward\n", " target.\n", "\n", "\n", " 205 INT. CONTROL ROOM - DAY - GROUP SHOT\n", "\n", " WENDOVER\n", " (into intercom)\n", " Fire Number Two!\n", "\n", "\n", " 206 INT. TORPEDO ROOM - DAY - MED. SHOT - GRIFF AND OTHERS\n", "\n", " Griff fires Number Two, then reports:\n", "\n", " GRIFF\n", " Number Two fired!\n", "\n", "\n", " 207 SPECIAL EFFECT SHOT - CLOSE ON TORPEDO TUBE\n", "\n", " as the second torpedo shoots from its tube after the\n", " first.\n", "\n", "\n", " 208 SPECIAL EFFECT SHOT - TYING TIGER SHARK AND CYCLOPS\n", "\n", " And now we see the two torpedos, executing a great\n", " curving arc, 'homing' on their target. They are\n", " still a considerable distance from it.\n", "\n", "\n", " 209 SPECIAL EFFECT SHOT - CLOSE ON TWO TORPEDOS\n", "\n", " as they WHOOSH BY CAMERA, speeding toward their target.\n", "\n", "\n", " 210 INT. CONTROL ROOM - DAY - TIGHT SHOT - ABOUT DAVE AND\n", " WENDOVER\n", "\n", " Wendover checks his watch, demands of Reef:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 78.\n", "\n", "\n", " 210 (CONTINUED)\n", "\n", " WENDOVER\n", " What's the running time?\n", "\n", " REEF\n", " (checking TDC)\n", " Thirty-four seconds!\n", "\n", " All wait, tense, breathless, expectant.\n", "\n", "\n", " 211 REACTION SHOTS - ABOUT SUB\n", "\n", " (A) CONTROL ROOM\n", " (B) TORPEDO ROOM\n", " (C) CREW QUARTERS\n", "\n", " Carl, the crew, Griff and others, all silently counting\n", " the seconds.\n", "\n", "\n", " 212 SPECIAL EFFECT SHOT - THE SAUCER\n", "\n", " Now the luminous eye seems to turn to observe the ap-\n", " proaching menace. There is a THROBBING BUZZ as of an\n", " energy discharge, and then the first torpedo comes in\n", " scene, seems to swerve to avoid the Cyclops, goes\n", " plunging on past it and o.s.\n", "\n", "\n", " 213 INT. CONTROL ROOM - DAY - SHOOTING PAST DAVE - AT VIEW\n", " PLATE - AT OTHERS\n", "\n", " as Dave, agony and disappointment in his tone, calls:\n", "\n", " DAVE\n", " Number One...Missed!\n", "\n", " There is an AD LIB response of shock. Then Wendover\n", " complains to Reef:\n", "\n", " WENDOVER\n", " How could it? We were dead on\n", " target, with a homing torpedo!\n", "\n", "\n", " 214 SPECIAL EFFECT SHOT - THE SAUCER - CLOSE\n", "\n", " Now, from some vent within the vehicle, a cloud of radi-\n", " ant, luminescent 'jelly' seems to stream out, enveloping\n", " it in a protective cloud. Just as the cloud is well-\n", " formed about the saucer, obscuring its outlines...\n", "\n", "\n", " 215 SPECIAL EFFECT SHOT - CLOSE ON SECOND TORPEDO\n", "\n", " It plunges through scene and off towards the saucer.\n", "\n", "- - -\n", "\n", " 79.\n", "\n", "\n", " 216 SPECIAL EFFECT SHOT - AT SAUCER\n", "\n", " as the second torpedo burrows into the protective cloud,\n", " more and more slowly, probing vainly toward the still-\n", " visible 'eye.' Then...\n", "\n", "\n", " 217 SPECIAL EFFECT SHOT - CLOSE ON TORPEDO\n", "\n", " as it buries itself in the mass of luminescent jelly.\n", " The propellers thrash madly, ineffectually. Then,\n", " gradually, they slow down, and the torpedo is completely\n", " surrounded by the mysterious mass.\n", "\n", "\n", " 218 INT. CONTROL ROOM - DAY - SPECIAL EFFECT SHOT - INSERT -\n", " THE TV SCREEN - OPTICAL SHOT\n", "\n", " AND OVERLAPPING ACTION ABOVE, we see the torpedo slow\n", " down and stop, buried in the mass surrounding the saucer.\n", "\n", " DAVE (o.s.)\n", " Skipper - look at this!\n", "\n", "\n", " 219 TIGHT GROUP SHOT - LOW ANGLE - UP INTO FACES\n", "\n", " as Reef, Wendover, Kent and Sir Ian cluster tightly\n", " about Dave. Carl enters from the hatch, joins them.\n", "\n", " DAVE\n", " (pointing)\n", " A mass of jelly-like stuff came\n", " out of the thing, and caught our\n", " torpedo!\n", "\n", " WENDOVER\n", " (exclaims)\n", " What???\n", "\n", " Kent frowns, points.\n", "\n", " KENT\n", " It must function like a de-Gaussing\n", " field.\n", " (dubiously)\n", " We'll never get a torpedo through\n", " that!\n", "\n", " Now Wendover's jaw sets grimly.\n", "\n", " WENDOVER\n", " Maybe not a torpedo...\n", "\n", " They look at him as he moves o.s. to the intercom.\n", "\n", "- - -\n", "\n", " 80.\n", "\n", "\n", " 220 CLOSE SHOT - WENDOVER\n", "\n", " as he barks into the intercom:\n", "\n", " WENDOVER\n", " This is the Captain: Blow bow\n", " tanks. Reactor Room, stand by:\n", " Soon as we're off the bottom,\n", " I want all ahead, flank speed,\n", " pronto!\n", "\n", "\n", " 221 FULL SHOT - THE CONTROL ROOM\n", "\n", " as Dave asks alertly:\n", "\n", " DAVE\n", " What course, Skipper?\n", "\n", " WENDOVER\n", " (with grim purpose)\n", " Right at our one-eyed friend!\n", "\n", " There are AD LIB surprised exclamations from all. Reef\n", " is incredulous:\n", "\n", " REEF\n", " Right at him?\n", "\n", " WENDOVER\n", " That's what I said!\n", "\n", " REEF\n", " But - what can we accomplish?\n", "\n", " WENDOVER\n", " We can ram him!\n", "\n", " The others exchange quick, frightened looks. Dave is\n", " incredulous. Carl moves over to Wendover, admonishes\n", " quietly:\n", "\n", " CARL\n", " You've weighed the consequences,\n", " Captain - the lives involved?\n", "\n", " Reef glares at him.\n", "\n", " WENDOVER\n", " Doctor -- I've weighed the lives\n", " Cyclops has taken, already...and\n", " will take, in the future, unless\n", " we can stop him, now!\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 81.\n", "\n", "\n", " 221 (CONTINUED)\n", "\n", " CARL\n", " We might find other means...\n", "\n", " WENDOVER\n", " What other means? If the Tiger\n", " Shark can't destroy him, no power\n", " on Earth can! Now brave yourselves!\n", "\n", " Carl subsides, catches Reef's eye, looks away.\n", "\n", "\n", " 222 REACTION SHOTS - THE MEN\n", "\n", "\n", " 223 INSERTS - HANDS PULLING CONTROL LEVERS\n", "\n", " These INTERCUT with faces, above.\n", "\n", "\n", " 224 SPECIAL EFFECT SHOT - THE TIGER SHARK - ON BOTTOM\n", "\n", " Now it begins to rise slowly from its bed in the depths.\n", " Water pours from the ballast tanks. Then, with the boat\n", " floating free in the water...\n", "\n", "\n", " 225 SPECIAL EFFECT SHOT - CLOSE SHOT - SCREWS\n", "\n", " as they begin to churn, picking up speed, then, finally,\n", " churn the water into a foamy wake.\n", "\n", "\n", " 226 SPECIAL EFFECT SHOT - THE TIGER SHARK\n", "\n", " Like a great, predatory fish, it rises from the bottom,\n", " moving more and more swiftly. It makes a great climbing\n", " turn directly TOWARD CAMERA, then goes overhead and out,\n", " speeding toward the saucer.\n", "\n", "\n", " 227 INT. CONTROL ROOM - DAY - REACTION SHOTS - PRINCIPALS\n", "\n", " They are all braced against the impending crash.\n", "\n", "\n", " 228 CLOSE SHOT - WENDOVER\n", "\n", " as he speaks into the intercom.\n", "\n", " WENDOVER\n", " This is the Captain! All crew\n", " members take collision stations!\n", "\n", "- - -\n", "\n", " 82.\n", "\n", "\n", " 229 (OMITTED)\n", "\n", "\n", " 230 INT. FORWARD TORPEDO ROOM - DAY - MED. FULL SHOT\n", "\n", " as Griff AD LIBS orders for the men to lie in their\n", " bunks, brace themselves against structural members,\n", " etc.\n", "\n", "\n", " 231 SPECIAL EFFECT SHOT - TIGER SHARK\n", "\n", " It has climbed to a level with the saucer, now levels\n", " off. It is picking up speed.\n", "\n", "\n", " 232 INT. CONTROL ROOM - DAY - CLOSE SHOT - DAVE\n", "\n", " He adjusts the TV view screen, tenses for the shock.\n", " Reef appears just behind him. They exchange a grim\n", " look, then eye the screen, fascinated.\n", "\n", "\n", " 233 SPECIAL EFFECT SHOT - OPTICAL SHOT - THE TV SCREEN\n", "\n", " Now we see the saucer looming up hugely, directly ahead.\n", "\n", "\n", " 234 CLOSE THREE SHOT - WENDOVER, KENT AND SIR IAN\n", "\n", " as we hear Dave's voice:\n", "\n", " DAVE (o.s.)\n", " Stand by -- five seconds...four...\n", " three...two...\n", "\n", "\n", " 235 SPECIAL EFFECT SHOT - SAUCER AND TIGER SHARK\n", "\n", " as they meet. The Tiger Shark plows into the protective\n", " jelly, which slows but cannot stop the juggernaut.\n", "\n", "\n", " 236 CLOSER CUTS - TIGER SHARK\n", "\n", " plowing into the protective jelly.\n", "\n", "\n", " 237 FULL SHOT - THE CRASH\n", "\n", " as the Tiger Shark, unstoppable, plows inexorably through\n", " the protective coating, slams against the saucer itself,\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 83.\n", "\n", "\n", " 237 (CONTINUED)\n", "\n", " then buries its bow deep within the Cyclops - like a har-\n", " poon driving into a huge creature of the depths. Perhaps\n", " a third of the Shark's length is driven deep into the\n", " saucer. Tremendous RENDING, TEARING NOISES accompany the\n", " crash, after which...complete, eerie silence.\n", "\n", "\n", " 238 CLOSER CUTS - THE CRASH\n", "\n", " As the bow rends the outer envelope of the saucer, the\n", " screws of the Tiger Shark churn powerfully against the\n", " restraining jelly...then a CLOSE SHOT of the Cyclops'\n", " 'eye' shows the glow diminishing.\n", "\n", "\n", " 239 INT. CONTROL ROOM - DAY - SPECIAL EFFECT SHOT - OVER\n", " DAVE'S SHOULDER - AT TV SCREEN\n", "\n", " And we see the situation, that the nose of the Shark is\n", " buried deep within the saucer.\n", "\n", " DAVE\n", " (triumphantly)\n", " We got him, Skipper - drove right\n", " into him!\n", "\n", "\n", " 240 GROUP SHOT - ABOUT DAVE - UP INTO FACES\n", "\n", " as Wendover manages a grim, satisfied smile. Kent and\n", " Sir Ian eagerly check the view plate, and the gauges.\n", "\n", " REEF\n", " Speared him like a fish!\n", "\n", " Wendover moves to the intercom, announces:\n", "\n", " WENDOVER\n", " This is the Skipper! We did it,\n", " men! Drove right through the\n", " saucer's hide!\n", "\n", "\n", " 241 REACTION SHOTS - ABOUT THE SUB\n", "\n", " (A) CONTROL ROOM\n", " (B) TORPEDO ROOM\n", " (C) CREW'S QUARTERS\n", "\n", " as the men cheer.\n", "\n", "- - -\n", "\n", " 84.\n", "\n", "\n", " 242 INT. CONTROL ROOM - DAY - FULL SHOT\n", "\n", " WENDOVER\n", " (smiling)\n", " We'd better wiggle loose.\n", " (speaks into\n", " intercom)\n", " Reactor Room: I want all re-\n", " verse, full!\n", "\n", "\n", " 243 SPECIAL EFFECT SHOT - TIGER SHARK AND CYCLOPS\n", "\n", " Jammed together, they are sinking slowly in the water.\n", "\n", "\n", " 244 CLOSER SHOTS - THE PROPELLERS\n", "\n", " Overcoming the initial resistance of the jelly, they\n", " begin slowly turning.\n", "\n", "\n", " 245 FULL SHOT - TIGER SHARK AND CYCLOPS\n", "\n", " It is obvious, now, that they are headed for the\n", " bottom.\n", "\n", "\n", " 246 INT. CONTROL ROOM - DAY - FULL SHOT\n", "\n", " The room seems to vibrate as the mighty atomic reactor\n", " turbines exert full power on the propellers. Then Reef\n", " shakes his head, discouraged.\n", "\n", " REEF\n", " We're stuck tight!\n", "\n", " DAVE\n", " (alarmed)\n", " Skipper! Look at the depth\n", " gauge!\n", "\n", " Wendover comes over, peers over Dave's shoulder.\n", "\n", "- - -\n", "\n", " 85.\n", "\n", "\n", " 247 INSERT - CLOSE UP - DEPTH GAUGE\n", "\n", " The dial moves rapidly. Now it is at 175 fathoms, rapid-\n", " ly moves to 180.\n", "\n", "\n", " 248 PAST DAVE AND WENDOVER - AT OTHERS\n", "\n", " as Wendover, momentarily puzzled, remarks:\n", "\n", " WENDOVER\n", " A hundred and eighty fathoms!\n", " We can't be sinking that\n", " fast....\n", "\n", " REEF\n", " (coming over)\n", " It's the screws, Skipper.\n", " (gestures to\n", " explain)\n", " At our declination angle,\n", " running in reverse, they're\n", " pulling the Shark and Cyclops\n", " right to the bottom.\n", "\n", " WENDOVER\n", " (frowns at gauge)\n", " And we're at safe maximum\n", " depth already....\n", " (then barks\n", " and order)\n", " Stop engines!\n", "\n", " Reef repeats the command into the intercom:\n", "\n", " REEF\n", " Stop engines!\n", "\n", "\n", " 249 SPECIAL EFFECT SHOT - CYCLOPS AND SHARK\n", "\n", " sinking through the water, pulled lower and lower by\n", " the Shark's engines. Now the propellers stop. The\n", " two craft still continue sinking, but more slowly now.\n", "\n", " SLOW DISSOLVE TO:\n", "\n", "\n", " 250 INSERT - WENDOVER'S HAND WRITING IN LOG\n", "\n", " as the hand records: JULY 15, 10:00 HOURS. NOW LYING\n", " ON BOTTOM, LOCKED TO CYCLOPS, 200 FATHOMS.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 86.\n", "\n", "\n", " 250 (CONTINUED)\n", "\n", " NARRATOR\n", " Hours later, the two titantic\n", " craft were still locked to-\n", " gether in an apparent death\n", " grip...\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 251 SPECIAL EFFECT SHOT - TIGER SHARK AND CYCLOPS\n", "\n", " lying on the ocean bottom, still with the Shark jammed\n", " into the saucer.\n", "\n", " NARRATOR\n", " (continuing)\n", " ...on the bottom of the Arctic\n", " Ocean, nearly twelve hundred\n", " feet below the surface!\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 252 INT. WARD ROOM - DAY - GROUP SHOT - ABOUT TABLE\n", "\n", " Present are Wendover, Carl, Reef, Kent, Sir Ian and Dave.\n", " This is a grim, hopeless conclave. The silence, except\n", " for a faint trickle of water somewhere, is complete,\n", " eerie, ghastly. Faces are bathed in tense perspiration.\n", " Wendover shakes his head.\n", "\n", " WENDOVER\n", " If anyone has any more ideas...\n", " I'll try anything, before just\n", " lying here, waiting to die!\n", "\n", " Now Reef explains an idea he has been toying with:\n", "\n", " REEF\n", " Suppose there's an atmosphere,\n", " of some kind, inside Cyclops?\n", "\n", " WENDOVER\n", " (blankly)\n", " What?\n", "\n", " REEF\n", " (to the group)\n", " If we could get inside the saucer\n", " - use our torches - maybe we could\n", " cut the Shark loose?\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 87.\n", "\n", "\n", " 252 (CONTINUED)\n", "\n", " SIR IAN\n", " That's all very fine, young man.\n", " But how would one go about get-\n", " ting inside Cyclops?\n", "\n", " Reef takes a deep breath, throws a glance at Carl, then\n", " says:\n", "\n", " REEF\n", " Through the eye - with the\n", " Depth-Explorer!\n", "\n", " Carl seizes this eagerly.\n", "\n", " CARL\n", " Yes - the Explorer was built to\n", " operate at even greater depths --\n", "\n", " WENDOVER\n", " (disturbed)\n", " But suppose there isn't an atmos-\n", " phere inside the saucer?\n", "\n", " REEF\n", " (bluntly)\n", " Then the idea's no good. But\n", " we're no worse off than we are\n", " right now.\n", "\n", " Dave picks this up eagerly.\n", "\n", " DAVE\n", " You've got to let us try, Skipper --\n", "\n", " REEF\n", " (startled)\n", " 'Us?'\n", "\n", " DAVE\n", " (ignoring him)\n", " Reef and I can take the Explorer\n", " down, clamp it around the eye,\n", " and ---\n", "\n", " CARL\n", " (firmly)\n", " No, you can't. But I can --\n", " (to Reef)\n", " I can deliver you to the eye.\n", " Then you --\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 87-A\n", "\n", "\n", " 252 (CONTINUED - 2)\n", "\n", " REEF\n", " (sneeringly)\n", " Little out of your line, isn't\n", " it? You better stay aboard and\n", " make a speech -- maybe get 'em\n", " to ban flying saucers!\n", "\n", " Carl bridles angrily.\n", "\n", " CARL\n", " That's enough, Holloway. I've\n", " told you before, wearing boards\n", " on your shoulders, and parading\n", " with a stiff spine doesn't auto-\n", " matically endow you with back-\n", " bone - !\n", "\n", " REEF\n", " - any more than being the son\n", " of Captain Neilsen does!\n", "\n", " Wendover is watching this exchange with growing dis-\n", " pleasure.\n", "\n", " CARL\n", " However our ideas disagree, as\n", " I've said before, I'm not a\n", " coward! And it happens you've\n", " got no choice: Either I take\n", " you down there, in the Lungfish,\n", " or you don't get there -\n", "\n", " REEF\n", " (bitterly)\n", " I'd sooner swim!\n", "\n", " WENDOVER\n", " (snaps)\n", " That's enough, Reef! Both of\n", " you!\n", " (to Reef)\n", " It so happens Dr. Neilsen's\n", " right. The odds are long\n", " enough, without making them\n", " longer.\n", " (he turns to Carl)\n", " Get the Explorer in the airlock,\n", " ready for launching.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 88.\n", "\n", "\n", " 252 (CONTINUED - 3)\n", "\n", " Carl nods. Throwing a final look at Reef, he goes to\n", " the passage way, climbs down. Wendover turns back to\n", " Reef, suggests:\n", "\n", " WENDOVER\n", " You better take Powell and\n", " Carney with you --\n", "\n", " DAVE\n", " The frogmen?\n", "\n", " WENDOVER\n", " With their underwater experience,\n", " they'll be invaluable. Take\n", " sidearms, and flare pistols --\n", "\n", " DAVE\n", " (puzzled)\n", " Sidearms? But the saucer's dead.\n", "\n", " WENDOVER\n", " (holding up crossed\n", " fingers)\n", " We hope!\n", "\n", " Wendover holds out his hands, shakes both theirs.\n", " Reef turns to Dave.\n", "\n", " REEF\n", " Let's get ready.\n", "\n", " They head for the passage way and exit. Wendover looks\n", " at Sir Ian and Kent, shakes his head solemnly.\n", "\n", " DISSOLVE TO:\n", "\n", "- - -\n", "\n", " 89.\n", "\n", "\n", " 253 INT. TORPEDO ROOM - DAY - FULL SHOT - AT AIRLOCK\n", "\n", " We see the single hatch open, in which the Depth Explorer\n", " has been mounted. Carl, in a jumper and helmet, waits\n", " by the step with Powell and Carney, dressed in their\n", " rubber suits, with helmets and face plates. They carry\n", " breathing apparatus. Behind them, Dave and Reef appear,\n", " dressed similarly, carrying their equipment - portable\n", " torches, a bag of tools, sidearms, flare pistols, and...\n", " in Dave's case...a machine pistol (burp gun). Over\n", " this:\n", "\n", " NARRATOR\n", " Preparations consumed only an\n", " hour. At 1100, everything was\n", " ready for this last, desperate\n", " attempt.\n", "\n", " Now the four men join Carl at the airlock. Carl is\n", " tense, tight-lipped. Reef frowns, concerned.\n", "\n", " REEF\n", " There's still time. You could\n", " show me how...?\n", "\n", " Carl shakes his head firmly, gestures toward the hatch.\n", "\n", " CARL\n", " Get in.\n", "\n", "\n", " 254 CUT TO COVER\n", "\n", " the action of the five men climbing down hatch (into\n", " Explorer). When all are inside, Griff steps forward,\n", " closes the hatch. Then he closes the airlock, and\n", " goes to intercom.\n", "\n", "\n", " 255 INT. CONTROL ROOM - DAY - GROUP SHOT - WENDOVER, KENT,\n", " SIR IAN\n", "\n", " And now Griff's voice comes over the intercom:\n", "\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 90.\n", "\n", "\n", " 255 (CONTINUED)\n", "\n", " GRIFF (o.s.)\n", " (filter)\n", " Ready to open Airlock door,\n", " Captain!\n", "\n", " Wendover glances once at Kent and Sir Ian. Then he\n", " moves to the mike.\n", "\n", " WENDOVER\n", " (into mike)\n", " Go ahead, Griff!\n", "\n", "\n", " 256 SPECIAL EFFECT SHOT - BELLY OF TIGER SHARK\n", "\n", " Now we see the lock door slide open. A moment later,\n", " the Depth-Explorer moves out through the opening, like\n", " an animal being born. It hovers for a moment, just\n", " below the Shark. Then it maneuvers o.s. towards the\n", " Cyclops.\n", "\n", "\n", " 257 INT. DEPTH-EXPLORER - DAY - TIGHT - (AND WE MEAN TIGHT)\n", " GROUP SHOT\n", "\n", " Carl operates the controls. The five men are wedged in\n", " shoulder to shoulder. Reef makes a gesture of direc-\n", " tion. Carl nods, complies.\n", "\n", "\n", " 258 SPECIAL EFFECT SHOT - THE CYCLOPS\n", "\n", " Now the Depth-Explorer moves into frame, drifts directly\n", " toward the great 'eye' - which still has a faint glow.\n", "\n", "\n", " 259 CLOSE SHOT - AT CYCLOPS' EYE - SPECIAL EFFECTS SHOT\n", "\n", " The Depth-Explorer moves up with its hatch clamped\n", " magnetically, directly over the eye.\n", "\n", "\n", " 260 INT. DEPTH-EXPLORER\n", "\n", " as Dave turns to Reef.\n", "\n", " DAVE\n", " Now what?\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-28-59 \"ATOMIC SUBMARINE\" 91.\n", "\n", " 260 (CONTINUED)\n", " REEF\n", " (looks at others, his glance\n", " lingering on Carl)\n", " Now what - shall we take\n", " a chance?\n", "\n", " CARL\n", " (solemnly)\n", " That's why we came.\n", "\n", " Reef nods.\n", "\n", " REEF\n", " All right.\n", " (then)\n", " Better breathe oxygen, just\n", " in case.\n", "\n", " The others all apply oxygen tubes to their mouths, go\n", " down hatch, Reef picking up a large tool like a wrecking\n", " bar.\n", "\n", " 260A UNDER HATCH\n", "\n", " Reef and Dave come down hatch into scene. We see the\n", " iris and Reef goes to work on it with the tool.\n", "\n", " WIPE TO:\n", "\n", " 261 INSERT - CLOSE UP - FITTING OF EYE\n", "\n", " as Reef's tools batter at it. Suddenly, it gives away.\n", "\n", " 262 SHOOTING AT EYE\n", "\n", " as, suddenly, it SEEMS TO OPEN, LIKE A CAMERA IRIS,\n", " leaving a circular opening, big enough to crawl through.\n", "\n", " 262A REACTION - DAVE & REEF\n", "\n", " Now Reef sniffs at the atmosphere that pours in from\n", " the saucer. Surprised, enthused, he removes his oxygen\n", " tube, breathes deeply.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-28-59 \"ATOMIC SUBMARINE\" 92-93\n", "\n", " 262A (CONTINUED)\n", " REEF\n", " Air! Pure air! Under high pressure!\n", "\n", " DAVE\n", " That's a relief!\n", "\n", " 262B INT. OF DEPTH EXPLORER\n", "\n", " POWELL\n", " What happens now, sir?\n", "\n", " 262C UNDER HATCH\n", "\n", " Reef thinks a moment, then decides.\n", "\n", " REEF\n", " You all wait here. I'm going inside,\n", " take a look.\n", "\n", " DAVE\n", " (insistently)\n", " Not alone, you're not!\n", "\n", " The men ad lib (no)!\n", "\n", " Reef frowns at them, then grins gratefully, squeezes\n", " Dave's arm, and moves toward the open eye.\n", "\n", " 262D INT. OF DEPTH EXPLORER\n", "\n", " CARL\n", " Good luck, men!\n", "\n", " 262E UNDER HATCH\n", "\n", " Reef smiles, begins crawling through the eye and\n", " into the saucer, followed by the others.\n", "\n", " OMIT\n", " 263 to\n", " 266\n", "\n", " 267 INT. SHORT RAMP SECTION - DAY - SHOOTING TOWARDS\n", " OPENING ABOVE\n", "\n", " OVERLAPPING ACTION as the four men crawl down through\n", " the hole into this section of the ramp of the saucer.\n", "\n", " 0MIT\n", " 267A\n", " 267B\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 94\n", " 267C RAMP SECTION - TRUCKING SHOT - FOUR MEN -\n", " AGAINST BLACK\n", "\n", " Reef gestures, leads the way down the ramp. Dave is\n", " at his elbow, the two frogmen just behind them. They\n", " light TORCHES or FLASHLIGHTS.\n", " OMIT\n", " 267D\n", " 267E\n", "\n", " 267F FOUR MEN - CHAMBER SECTION\n", "\n", " They come down ramp section to chamber, stop, and\n", " look off screen.\n", "\n", " 268 FROM THEIR P.O.V. - TOWARD WOUND MADE BY TIGER SHARK\n", "\n", " And we see the bow of the submarine extending into\n", " the chamber. But, strangely, there is not a drop of\n", " water, not a break in the surrounding wall.\n", "\n", " 268A FOUR MEN\n", "\n", " DAVE\n", " (pointing)\n", " How about that! The bow drove\n", " half through her, but she sealed\n", " herself right up.\n", "\n", " REEF\n", " (excitedly)\n", " What's more important - there's\n", " our problem.\n", " (points)\n", " The bow ram - the sawteeth are\n", " holding the Shark in the break.\n", " If we can cut the ram, the Shark\n", " can pull herself loose!\n", "\n", " DAVE\n", " (enthused)\n", " I think you're right.\n", "\n", " REEF\n", " (to Powell)\n", " Go back and tell Dr. Neilsen.\n", " Have him report to the Skipper.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 95.\n", "\n", "\n", " 268 (CONTINUED)\n", "\n", " Powell nods, retreats. The others unsling their equip-\n", " ment.\n", "\n", " REEF\n", " Now let's get to work.\n", "\n", " They light the torches, and advance on the protruding\n", " bow of the sub (o.s.).\n", "\n", "\n", " 269 INSERT - CLOSE UP - THE TORCHES\n", "\n", " as they begin biting into the metal of the submarine\n", " ram.\n", "\n", " WIPE TO:\n", "\n", "\n", " 260 INT. DEPTH-EXPLORER - DAY - CARL AND POWELL\n", "\n", " Carl has the radio mike in his hand and calls:\n", "\n", " CARL\n", " Depth-Explorer to Tiger Shark.\n", " Do you read? Over.\n", "\n", "\n", " 271 INT. CONTROL ROOM - DAY - TIGHT THREE SHOT - WENDOVER,\n", " KENT AND SIR IAN\n", "\n", " The Skipper himself wears the headphones. He cries ex-\n", " citedly into the radio mike:\n", "\n", " WENDOVER\n", " We read you! Go ahead, Doctor!\n", " (then, as he\n", " listens eagerly,\n", " repeats)\n", " They're inside the saucer. It's\n", " filled with breathable air!\n", "\n", " KENT\n", " Wonderful!\n", "\n", " WENDOVER\n", " (listening, then\n", " enthusiastic)\n", " That's wonderful, Carl!\n", " (to others)\n", " Reef thinks they can clear the Shark\n", " bow so we can pull ourself loose!\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 96.\n", "\n", "\n", " 271 (CONTINUED)\n", "\n", " SIR IAN\n", " (ever the scientist)\n", " What is it like, inside Cyclops?\n", " This is a priceless opportunity\n", " for....\n", "\n", " But Wendover ignores this, admonishes:\n", "\n", " WENDOVER\n", " Tell Reef: Be sure you're all\n", " clear before we make a move!\n", " Good!\n", "\n", " He takes off the headphones, beams at the other men.\n", "\n", " WENDOVER\n", " Maybe we'll come out of this\n", " yet!\n", "\n", "\n", " 272 FULL SHOT - THE CON\n", "\n", " And now Griff, operating the navigation equipment, frowns,\n", " perplexed, then calls:\n", "\n", " GRIFF\n", " Skipper - could you take a look\n", " here...?\n", "\n", " WENDOVER\n", " Something wrong?\n", "\n", " GRIFF\n", " The inertial navigation system.\n", " Must have been knocked out in\n", " the crash.\n", "\n", " WENDOVER\n", " Why do you say that?\n", "\n", " GRIFF\n", " We're dead in the water. But\n", " it indicates we're moving!\n", "\n", " WENDOVER\n", " What????\n", "\n", " Sir Ian and Kent exchange a look, come over and join\n", " them.\n", "\n", " SIR IAN\n", " But that's impossible!\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 97\n", "\n", " 272 (CONTINUED)\n", "\n", " Now Kent notices something. He points:\n", "\n", " KENT\n", " The radiation level - from\n", " the saucer - it's rising!\n", "\n", " SIR IAN\n", " (suddenly fearful, to\n", " Wendover)\n", " What direction does the system\n", " indicate?\n", "\n", " WENDOVER\n", " (suddenly grim)\n", " Due north. At five knots...no, six!\n", "\n", " SIR IAN\n", " (grave, thoughtful)\n", " Toward the Pole!\n", "\n", " GRIFF\n", " (demanding)\n", " But - that cyclops is dead! We\n", " killed it...didn't we?\n", " (as they look away)\n", " Didn't we?\n", "\n", " DISSOLVE TO:\n", "\n", " 273 SPECIAL EFFECT SHOT - TIGER SHARK AND CYCLOPS\n", "\n", " with Depth-Explorer still clamped to the eye. Now\n", " we see, definitely, that the two craft, locked\n", " together, are indeed moving, slowly but perceptibly,\n", " along the ocean floor.\n", "\n", " 274 INT. CHAMBER SECTION OF SAUCER - DAY - CLOSEUP -\n", " FACES OF REEF, DAVE, POWELL, CARNEY\n", "\n", " Weirdly lit in the glow of the torches.\n", "\n", " 274A\n", " OMIT\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\"\n", " 97-A\n", "\n", " OMIT\n", " 274B\n", " 274C\n", "\n", " 274D CLOSE SHOT - REEF\n", "\n", " As he works, a weird SOUND OSCILLATION - varying\n", " wildly in pitch - sweeps over scene. Reef reacts,\n", " startled. The SOUND COMES AGAIN, and Reef turns,\n", " calls sharply:\n", "\n", " REEF\n", " Dave?\n", "\n", " 274E PAN SHOT - WITH DAVE\n", "\n", " As he detaches himself from the frogmen, moves\n", " into TWO SHOT with Reef.\n", "\n", " DAVE\n", " Yeah?\n", "\n", " REEF\n", " Listen!\n", " (the SOUND comes again)\n", " Hear that?\n", "\n", " Dave has not reacted at all. He looks peculiarly\n", " at Reef.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 97-B\n", "\n", " 274E (CONTINUED)\n", "\n", " DAVE\n", " I don't hear anything.\n", " (he looks at Reef,\n", " concerned)\n", " Maybe you've been down here\n", " too long. Why don't you go\n", " back up and -\n", "\n", " REEF\n", " Strange you didn't hear it.\n", " OMIT\n", " 274F\n", "\n", " 275 CLOSE SHOT - THE TORCHES\n", "\n", " biting deeply into the steel of the ram. Now CAMERA\n", " TILTS DOWN SLOWLY, and as it is moving we...\n", "\n", " DOWN WIPE TO:\n", "\n", " 276 INT. GLOBE - DAY - SPECIAL EFFECTS SHOT\n", "\n", " Though we see nothing of its construction at this\n", " point.\n", "\n", " 276A INSERT - CLOSE SHOT - PROBING SPINES - TRICK SHOT\n", " (SPECIAL EFFECTS)\n", "\n", " The black, catfish-or-sea urchin-like spines seem\n", " to rise from limp supineness. They stiffen, grope\n", " like fingers, move towards a series of grommet-like\n", " openings in the translucent wall of the sphere. Now\n", " a spine nears a grommet, slips into it, apparently\n", " making 'contact', for somewhere, a FAINT LIGHT comes\n", " on, and the scene becomes lighter. In a moment,\n", " another spine slips into another grommet-hole.\n", "\n", "- - -\n", "\n", " 98.\n", "\n", "\n", " 277 INT. CHAMBER SECTION - DAY - MED. SHOT - A LIGHT\n", "\n", " To an accompanying tympany BEAT, a LIGHT SPOT, appears.\n", " A moment later, another drum beat, another LIGHT SPOT.\n", " (Note: This business may continue behind subsequent\n", " dialogue - more beats, more lights coming on)\n", "\n", "\n", " 278 CLOSE GROUP - THE WORKING PARTY - ABOUT RAM OF TIGER\n", " SHARK\n", "\n", " As Reef continues working with the torch. Dave pushes\n", " up his goggles, reacts, surprised. He taps Reef on the\n", " shoulder.\n", "\n", " DAVE\n", " Hey - you know somethin'? It's\n", " getting lighter in here!\n", "\n", " REEF\n", " (a similar re-\n", " action)\n", " You know - it is?\n", "\n", " Now they give a sudden lurch. Dave looks down at his\n", " feet, then into Reef's face.\n", "\n", " DAVE\n", " And if I didn't know better - I'd\n", " swear we were moving!\n", "\n", " REEF\n", " Let's get back to work, and maybe\n", " we will be, soon.\n", "\n", "\n", " 279 INT. DEPTH-EXPLORER - DAY - CLOSE SHOT - CARL TALKING\n", " INTO MIKE\n", "\n", " He looks about, worriedly.\n", "\n", " CARL\n", " (into mike)\n", " ...I get an impression of move-\n", " ment, Captain. Is that possible?\n", "\n", " VOICE OF WENDOVER\n", " (through phones)\n", " We have the same reaction, up\n", " here.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 99.\n", "\n", "\n", " 279 (CONTINUED)\n", "\n", " CARL\n", " (very worried)\n", " But ---\n", "\n", "\n", " 280 INT. CONTROL ROOM - DAY - GROUP SHOT - AS BEFORE\n", "\n", " as the Skipper turns to the scientists.\n", "\n", " WENDOVER\n", " Now they feel it...down below.\n", "\n", " KENT\n", " (frowning at\n", " gauge)\n", " Radiation level...constantly\n", " rising...\n", "\n", " SIR IAN\n", " (murmurs thought-\n", " fully)\n", " As we near the Pole...\n", "\n", " KENT\n", " (sharply)\n", " There's got to be an explanation!\n", "\n", " SIR IAN\n", " (mildly)\n", " There is.\n", " (as they study\n", " him)\n", " I believe our friend...Cyclops...\n", " is returning to life!\n", "\n", " A grim reaction, all around.\n", "\n", "\n", " 281 INT. GLOBE - DAY - MED. SHOT - TRICK SHOT - THE FINGERS\n", " (SPECIAL EFFECTS)\n", "\n", " as, now, the last of them contact their proper control\n", " points, and a complete circuit of lights FLASHES ON.\n", " The LIGHT INTENSITY rises.\n", "\n", "\n", " 282 INT. CHAMBER SECTION - DAY - GROUP SHOT - THE MEN\n", "\n", " working on the ram. Now, with a final cut with the\n", " torch, there is a CLANG, A RINGING SOUND, and then\n", " the ram drops free.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 100.\n", "\n", "\n", " 282 (CONTINUED)\n", "\n", " REEF\n", " (with satisfaction)\n", " That does it! I think the Shark\n", " can pull clear!\n", "\n", " Now, we hear a weird, mechanical voice:\n", "\n", " SAUCER-VOICE\n", " Commander Holloway! Listen!\n", "\n", " Reef reacts.\n", "\n", " REEF\n", " You hear that?\n", "\n", " DAVE\n", " (looking blank)\n", " The sound again?\n", "\n", " Now the voice repeats:\n", "\n", " SAUCER-VOICE\n", " Commander Holloway. Make no\n", " resistance.\n", "\n", " REEF\n", " (nervously)\n", " A voice, this time. It spoke\n", " my name!\n", "\n", " Reef draws his gun and Dave raises his machine gun.\n", "\n", "\n", " 283 (OMITTED)\n", "\n", "\n", " 284 MED. GROUP SHOT\n", "\n", " And now the voice comes from another quarter:\n", "\n", " SAUCER-VOICE\n", " You will see that avails nothing!\n", "\n", " Reef looks around, startled.\n", "\n", "\n", " 285 PAN SHOT - WITH POWELL\n", "\n", " His nerve is going. He edges away from the group, then\n", " turns to bolt out of scene, heading for the Depth-\n", " Explorer. But just as he takes his first steps...\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 101\n", "\n", " 286 PAN WITH POWELL\n", "\n", " As he stumbles through the darkness.\n", "\n", " 286A FLASH OF LIGHT\n", "\n", " A flash of light comes down at Powell from somewhere.\n", "\n", " 287 CLOSEUP - POWELL\n", "\n", " The light envelops him, and he cringes.\n", "\n", " POWELL\n", " Carney - help!\n", "\n", " 287A THREE SHOT - CARNEY DAVE REEF\n", "\n", " Reacting to Powell's cry.\n", "\n", " REEF\n", " Carney, see what's happened\n", " to Powell.\n", "\n", " Carney moves o.s.\n", "\n", " 287B CLOSEUP - POWELL - MAKEUP SHOT\n", "\n", " We see the horrible effect of the light on his face.\n", "\n", " 287C TRICK EFFECT - POWELL SHRIVELLED - PRODUCTION SHOT\n", "\n", " Powell is shrivelled by the light. The last thing we\n", " see of him is...\n", "\n", " 287D TRICK EFFECT - POWELL'S HANDS - SPECIAL EFFECTS SHOT\n", "\n", " They disintegrate to Jelly, and Powell is completely\n", " gone.\n", "\n", " 288 PANNING WITH CARNEY\n", "\n", " As he reaches the spot where Powell was killed. He\n", " reacts, horrified.\n", "\n", " 288A PANNING WITH CARNEY\n", "\n", " As he moves away hurriedly.\n", "\n", " 288B PANNING WITH CARNEY\n", "\n", " As he turns, from the blackness, a burst of steam\n", " issues forth into his face.\n", "\n", " 288C CLOSEUP - CARNEY\n", "\n", " He screams as the steam envelops him and sinks out\n", " of scene.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\"\n", " 101-A\n", "\n", " 288-D TRICK SHOT - CARNEY - SPECIAL EFFECTS SHOT\n", "\n", " As Carney's body disintegrates into the ground.\n", "\n", " 288-E TWO SHOT - DAVE REEF\n", "\n", " Unaware of Powell and Carney's fate.\n", "\n", " DAVE\n", " Where do you think the voice you\n", " heard was coming from?\n", "\n", " REEF\n", " (points farther down\n", " the ramp)\n", " Somewhere down there?\n", "\n", " DAVE\n", " Wonder where Powell and Carney\n", " are?\n", "\n", " REEF\n", " We'll have to look for them\n", " later.\n", "\n", " They move on.\n", "\n", " 289 THROUGH IRIS DOWN RAMP TO FLOOR - BLACK BACKING -\n", " DAY - PAN SHOT - DAVE AND REEF\n", "\n", " They continue down ramp. Reef looks expectantly at\n", " Dave.\n", "\n", " REEF\n", " Well?\n", "\n", " DAVE\n", " I'm with you!\n", "\n", "- - -\n", "\n", " 101-B\n", "\n", "\n", " 290 FLOOR - BLACK BACKING - DAY - UP SHOT - REEF AND DAVE\n", "\n", " They come clambering down the ramp, reach the platform\n", " level. Then, awed, they look around them.\n", "\n", "\n", " 291 EST. SHOT ON FLOOR (PLATFORM) - CAVERNOUS INTERIOR -\n", " BACK AT TINY MEN ON PLATFORM - MATTE SHOT\n", "\n", " We see a long, slender bridge, or catwalk, extending\n", " out into space, apparently reaching toward a great,\n", " opalescent sphere that seems to hang suspended on\n", " cushioning points, some sort of shock-absorbing system,\n", " in the very center of the saucer. A weird GLOW, seem-\n", " ing to become ever brighter, emanates from inside this\n", " sphere.\n", "\n", "\n", " 292 TWO SHOT - DAVE AND REEF\n", "\n", " Awed, round-eyed, silent, they stare open-mouthed at\n", " the sight. But before they can make any comment...\n", "\n", " SAUCER VOICE\n", " Remove your weapons, Commander.\n", " And come here - alone!\n", "\n", " REEF\n", " Come where?\n", "\n", " Dave looks at him peculiarly.\n", "\n", " DAVE\n", " The voice again?\n", "\n", " But Reef is too intent on the voice. Now he begins dis-\n", " arming as Dave looks incredulous.\n", "\n", " DAVE\n", " What're you doing?\n", "\n", "\n", " 293 MATTE SHOT - FROM THEIR P.O.V. - TOWARD GLOBE\n", "\n", " Now, at the very tip of the spine-bridge, an IRIS\n", " OPENING appears in the side of the sphere.\n", "\n", " SAUCER VOICE\n", " (now seeming to come\n", " from this opening)\n", " To me - here!\n", "\n", "- - -\n", "\n", " 102.\n", "\n", "\n", " 294 TWO SHOT - REEF AND DAVE\n", "\n", " Reef has a distant look as he hands his weapons to\n", " Dave.\n", "\n", " REEF\n", " Here - keep these.\n", " (then)\n", " It wants me to come alone.\n", "\n", " DAVE\n", " (flaring)\n", " Oh it does???\n", "\n", " Reef moves o.s. toward the bridge. Dave waits, very\n", " unwillingly.\n", "\n", "\n", " 295 INT. SECTION OF BRIDGE - LEADING TO SPHERE - DAY -\n", " REEF - ONTO BLACK\n", "\n", " He inches his way tortuously across the slender support,\n", " toward the iris opening.\n", "\n", "\n", " 296 MATTE SHOT - BEHIND REEF - TOWARD SPHERE\n", "\n", " He crawls cautiously towards the opening.\n", "\n", "\n", " 296A INT. PLATFORM - BLACK BACKING - DAY - CLOSE SHOT - DAVE\n", "\n", " Angry, impatient, he sets Reef's weapons down. Then he\n", " clutches his submachine gun, watches Reef o.s.\n", "\n", "\n", " 297 INT. SPHERE - DAY - MED. SHOT - FROM INSIDE - IRIS\n", " OPENING\n", "\n", " Now Reef appears, crawls cautiously up into the opening,\n", " then stands, looks inside. His eyes nearly start from\n", " his head as he takes in the incredible sight.\n", "\n", "\n", " 298 TRICK SHOT - FROM REEF'S P.O.V. - INTERIOR OF SPHERE -\n", " SPECIAL EFFECTS SHOT\n", "\n", " His eyes range over the ceiling of the glove, then as he\n", " shifts his gaze to the bottom of the sphere, we see 'it'\n", " - a horrendous organism, like a giant sea urchin, the\n", " long, black, writhing spines now all in proper contact\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 103.\n", "\n", "\n", " 298 (CONTINUED)\n", "\n", " with their grommet-sockets. And out of the center of\n", " the pulsating central 'body' rises a long stalk, and on\n", " the very tip of it a great, glowing 'eye.' The setup\n", " is like a monstrous rendering of the eye of a snail.\n", "\n", "\n", " 299 MATTE SHOT - UP PAST 'EYE' AT REEF IN IRIS\n", "\n", " So he appears a tiny, miniature man compared to the\n", " cavernous size of the sphere. And now, apparently\n", " from the 'eye' itself, which seems to flicker and\n", " glow like an electron beam spectrometer, comes the\n", " saucer-voice again:\n", "\n", " SAUCER VOICE\n", " So, Commander Holloway - as\n", " you Earth inhabitants would\n", " express it - we meet 'face to\n", " face.'\n", "\n", "\n", " 300 CLOSE SHOT - REEF\n", "\n", " As he says with sardonic inflection:\n", "\n", " REEF\n", " That's a face???\n", "\n", " SAUCER VOICE\n", " Point of view is everything.\n", " To us, your form of life is\n", " ugly as we appear to you.\n", "\n", " REEF\n", " Tell me something: Why can I\n", " hear you, when the others\n", " couldn't?\n", "\n", "\n", " 300A FROM REEF'S P.O.V. - THE EYE\n", "\n", " SAUCER VOICE\n", " You do not 'hear' me! Our in-\n", " dividual brain frequencies are\n", " now attuned, and we exchange\n", " wave-thoughts.\n", "\n", " REEF O.S.\n", " You mean 'Extra Sensory Per-\n", " ception?'\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 104.\n", "\n", "\n", " 300A (CONTINUED)\n", "\n", " SAUCER VOICE\n", " Whatever your 'earth-term' may\n", " be. The principal is ancient,\n", " and very simple.\n", "\n", "\n", " 300B CLOSE SHOT - REEF\n", "\n", " Listening.\n", "\n", " SAUCER VOICE\n", " It is not necessary for you to\n", " speak. Your 'thought-response'\n", " will suffice.\n", "\n", " (Note: From here on, in speech with the saucer, Reef's\n", " lips do not move - his responses, except to Dave, are\n", " all 'voice over')\n", "\n", "\n", " 300C INT. SECTION OF BRIDGE - DAY - DOWN SHOT - PANNING WITH\n", " DAVE\n", "\n", " He cannot contain himself any longer, is now crawling\n", " out onto the bridge, toward Reef; cradling the sub-\n", " machine gun on his forearm as he goes.\n", "\n", "\n", " 300D INT. SPHERE - DAY - MATTE SHOT - UP PAST 'EYE' - AT\n", " REEF IN IRIS\n", "\n", " The conversation continues:\n", "\n", " SAUCER VOICE\n", " My mission is to study various\n", " solar systems, and planets -\n", " select the most suitable for\n", " colonization -\n", "\n", " REEF\n", " - for horrors like yourself?\n", "\n", " SAUCER\n", " Of course. It may interest you\n", " to know I have visited hundreds\n", " of other worlds, and of all of\n", " them, your Earth seems most suit-\n", " able.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 105.\n", "\n", "\n", " 300D (CONTINUED)\n", "\n", " REEF\n", " (drily)\n", " Swell!\n", "\n", " SAUCER VOICE\n", " (sternly)\n", " Your friend was to remain where\n", " he was!\n", "\n", "\n", " 300E CLOSE SHOT - REEF\n", "\n", " He looks a bit bewildered:\n", "\n", " REEF\n", " He did!\n", "\n", " SAUCER VOICE\n", " I am afraid not. Therefore -\n", "\n", " Now, to Reef's consternation, Dave suddenly appears be-\n", " side him:\n", "\n", " REEF\n", " (to Dave, lip sync)\n", " Dave - !\n", "\n", " DAVE\n", " (grimly)\n", " What's goin' on in here, Lad?\n", " What - ?\n", "\n", " Then, Dave's mouth drops open, and he stares, incredulous.\n", "\n", "\n", " 300F MATTE SHOT - AS BEFORE - DAVE'S P.O.V. - THE CREATURE\n", "\n", " SAUCER VOICE\n", " (warningly)\n", " Stand away from him, Commander!\n", "\n", "\n", " 300G TWO SHOT - DAVE AND REEF\n", "\n", " As Dave, before Reef can stop him, steps forward\n", " belligerently, levels and submachine gun down at the\n", " creature.\n", "\n", " DAVE\n", " (menacingly)\n", " So this is 'headquarters,' huh?\n", " Well, you've sunk your last ship,\n", " you....\n", "\n", " And he looses a burst with the sub-machine gun, so that\n", " we don't hear the appropriate name.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\"\n", " 105-A\n", "\n", " 300H SPECIAL EFFECT SHOT - DAVE - PRODUCTION SHOT\n", "\n", " With a BOOM of tympany, a LIGHT STRIKES Dave, and\n", " suddenly he is melted, shrivelled to nothingness. The\n", " machine gun falls o.s.\n", "\n", " 300I CUT TO COVER - THIS ACTION\n", "\n", " 300J CLOSE SHOT - REEF\n", "\n", " As he looks on, shocked, sobered, shaken. Then, in\n", " his thought-voice, he asks slowly:\n", "\n", " REEF\n", " Why not me? What am I - the\n", " closing act?\n", "\n", " SAUCER VOICE\n", " On the contrary. I want you -\n", " unharmed - perfect.\n", "\n", " REEF\n", " Why?\n", "\n", " SAUCER VOICE\n", " I have selected you, to return\n", " with me - along with several other\n", " specimens, for study. We will\n", " examine you and the others, discover\n", " desirable features to incorporate\n", " in our 'earth-colonizers.'\n", "\n", " 301 MATTE SHOT - REEF'S P.O.V. - THE ORGANISM\n", "\n", " REEF O.S.\n", " Then you just...'build them in?'\n", "\n", " SAUCER VOICE\n", " Of course. Evolution is much\n", " too slow a process.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 106.\n", "\n", "\n", " 301 (CONTINUED)\n", "\n", " SAUCER VOICE\n", " On earth you build with inanimate\n", " material. We employ living tissue.\n", " This space vehicle, for example...\n", "\n", "\n", " 302 CUT TO COVER\n", "\n", "\n", " 303 MED. CLOSE SHOT - REEF\n", "\n", " Awed, frightened, he looks about him at the construction\n", " of the chamber in which he is standing.\n", "\n", " SAUCER VOICE\n", " It is a living thing. When damaged\n", " - you would say 'wounded' - it\n", " immediately 'heals' itself.\n", "\n", " REEF\n", " (understanding)\n", " That's why no water leaked inside\n", " when we rammed you?\n", "\n", " SAUCER VOICE\n", " Of course. But it is time to be-\n", " gin the return voyage --\n", "\n", "\n", " 304 CLOSE SHOT - REEF'S HAND\n", "\n", " And we see it creep up under his coat, grabbing the\n", " Very pistol.\n", "\n", "\n", " 305 MED. CLOSE SHOT - REEF\n", "\n", " as he says grimly, threateningly:\n", "\n", " REEF\n", " To navigate, won't you have to...\n", " see your way?\n", "\n", " SAUCER VOICE\n", " Obviously.\n", "\n", " REEF\n", " That might be a little rough!\n", "\n", " And Reef raises the Very pistol, fires.\n", "\n", "- - -\n", "\n", " 107.\n", "\n", "\n", " 306 SPECIAL EFFECT SHOT - THE 'EYE' OF THE ORGANISM\n", "\n", " as the flare strikes it and bursts. There is a SCREAM,\n", " an unearthly, shattering WAIL from the organism itself.\n", "\n", "\n", " 307 SPECIAL EFFECT SHOT - CLOSE ON 'EYE'\n", "\n", " as the flare burns a hole in the iris, and the water,\n", " or whatever it contains, seems to drain from it, like\n", " a plastic bag when it is torn.\n", "\n", "\n", " 308 CLOSE SHOT - REEF\n", "\n", " He reacts quickly, astonished at the effect of his\n", " shot. But then he wastes no time - turns and scrambles\n", " back out. SCREAMS OF PAIN from the creature follow\n", " him.\n", "\n", "\n", " 309 INT. SECTION OF BRIDGE - DAY - FAST PAN - WITH REEF\n", "\n", " Heedless of the danger of falling, he scrambles madly\n", " back across the bridge. Beams of the death-dealing\n", " light just miss him as he goes, and SCREAMS from the\n", " wounded creature shatter the cavernous silence.\n", "\n", "\n", " 310 (OMITTED)\n", "\n", "\n", " 310A PANNING WITH REEF\n", "\n", " He reaches the platform, races madly for the ramp.\n", " Beams of light again just miss him.\n", "\n", "\n", " 310B PANNING WITH REEF - UP RAMP\n", "\n", " And suddenly, as he reaches the iris, he YELLS with\n", " pain, his foot caught in the iris.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\"\n", " 107-A-B\n", "\n", " 310-C INSERT - CLOSEUP - REEF'S FOOT\n", "\n", " As he pulls his foot clear.\n", " OMIT\n", " 310D\n", " 311\n", "\n", " 311-A PANNING WITH REEF\n", "\n", " As he runs through the darkness.\n", "\n", " 311-B PANNING WITH REEF\n", "\n", " As a beam of LIGHT just misses him.\n", "\n", " 311-C CLOSEUP - STEAM\n", "\n", " As steam comes out of the darkness at him.\n", "\n", " 311-D PANNING WITH REEF\n", "\n", " As he runs by, the steam just missing him.\n", "\n", " 311-E CLOSE PAN - REEF\n", "\n", " As he races for the iris at the end of the ramp.\n", "\n", " 312 INT. DEPTH-EXPLORER - DAY - AT HATCH WINDOW - OVER\n", " CARL'S SHOULDER\n", "\n", " Carl reacts as the iris begins closing. Quickly, he\n", " grabs a crowbar, or other prop, wedges it into the\n", " iris, holding it open momentarily. A moment later,\n", " Reef literally hurls himself into the little sub,\n", " slams the hatch behind him, and exclaims:\n", "\n", " REEF\n", " Back to the Shark - right\n", " now!\n", "\n", " Carl does not hesitate, begins working the controls.\n", "\n", " CARL\n", " What about Dave - and the\n", " others?\n", "\n", "- - -\n", "\n", " 108.\n", "\n", "\n", " 312 (CONTINUED)\n", "\n", " REEF\n", " (grimly)\n", " 'Fortunes of War!'\n", "\n", " Carl frowns. Now Reef grasps the radio microphone, says\n", " quickly:\n", "\n", " REEF\n", " (into mike)\n", " This is Reef, Skipper -- in the\n", " Depth-Explorer. Don't wait for\n", " us - start engines, and pull loose!\n", "\n", "\n", " 313 INT. CONTROL ROOM - DAY - FULL SHOT - THE ROOM\n", "\n", " as Wendover nods, responding to the radio message.\n", "\n", " WENDOVER\n", " All right, Reef.\n", "\n", " He turns to the intercom, orders:\n", "\n", " WENDOVER\n", " Reactor Room! This is the Skipper!\n", " I want all reverse full-emergency\n", " power!\n", "\n", "\n", " 314 SPECIAL EFFECT SHOT - THE TIGER SHARK PROPELLERS\n", "\n", " They begin to turn, slowly at first, then picking up\n", " speed.\n", "\n", "\n", " 315 SPECIAL EFFECT SHOT - SHARK AND DEPTH-EXPLORER\n", "\n", " It moves away from the saucer, back up through the water\n", " to the belly of the Shark, at the airlock.\n", "\n", "\n", " 316 INT. LOWER CHAMBER OF SAUCER - DAY - SPECIAL EFFECT SHOT\n", " - CLOSE ON 'EYE'\n", "\n", " And now we see, through a SERIES OF DISSOLVES that the\n", " eye is healing - restoring itself, like a balloon being\n", " blown up (maybe this would do it).\n", "\n", "\n", " 317 SPECIAL EFFECT SHOT - THE 'FINGERS'\n", "\n", " Purposefully they probe into the 'circuit' apertures,\n", " and the power lights begin to glow radiantly.\n", "\n", "- - -\n", "\n", " 109.\n", "\n", "\n", " 318 INT. FORWARD TORPEDO ROOM - DAY - FULL SHOT - AT AIRLOCK\n", "\n", " As Griff superintends preparations to open the lock door,\n", " the men from the control room - Wendover, Kent and Sir\n", " Ian, hasten in. Now Griff cracks the hatch on the lock\n", " door, and in a moment, Reef staggers out, then helps Carl\n", " from the Explorer. Wendover frowns, glances inside:\n", "\n", " WENDOVER\n", " What about --- ?\n", "\n", " Reef only shakes his head. Faces are tense, then Reef\n", " declares bitterly:\n", "\n", " REEF\n", " We didn't kill it, Skipper. And\n", " if it ever gets...back where it\n", " came from...the Earth is doomed,\n", " and everything and everybody on it!\n", "\n", "\n", " 319 SPECIAL EFFECT SHOT - TIGER SHARK AND SAUCER\n", "\n", " And now, the mighty engines of the Shark succeed - the\n", " bow of the Shark pulls out of the hull of the saucer,\n", " and the two vehicles float freely in the water.\n", "\n", "\n", " 320 INT. FORWARD TORPEDO ROOM - DAY - GROUP SHOT\n", "\n", " The scene JUMPS AND LURCHES. Then there is an exultant\n", " voice:\n", "\n", " VOICE\n", " (over intercom)\n", " We've pulled loose, Skipper!\n", " We're free!\n", "\n", " Wendover and Reef exchange an exultant look. Then they\n", " turn and run out toward the ladder to the con. Kent,\n", " Carl and Sir Ian follow more slowly.\n", "\n", "\n", " 321 INT. CONTROL ROOM - DAY - FULL SHOT - THE ROOM\n", "\n", " As Wendover and Reef come scrambling up the ladder and\n", " through the hatch, the man at the helm indicates the TV\n", " screen. Wendover and Reef peer eagerly at it. Wendover\n", " smiles tightly.\n", "\n", "- - -\n", "\n", " 110.\n", "\n", " 322 SPECIAL EFFECT SHOT - OPTICAL SHOT - THE TV SCREEN\n", "\n", " And we see the saucer floating loose in the water. But,\n", " suddenly, with a tremendous burst of speed, the saucer\n", " moves away through the water, so rapidly as almost to\n", " become a blur.\n", "\n", " REEF (o.s.)\n", " (despairingly)\n", " There it goes!\n", "\n", "\n", " 323 UP INTO FACES OF REEF AND WENDOVER\n", "\n", " as Reef adjusts the dials of the screen, and Carl, Kent\n", " and Sir Ian appear behind them.\n", "\n", " REEF\n", " Straight to the Pole - at almost\n", " fifty knots!\n", "\n", " WENDOVER\n", " Nothing we can do, now.\n", "\n", " KENT\n", " Excuse me, Captain - there may\n", " be one last, desperate chance -\n", " a one-in-a-thousand shot...\n", "\n", " WENDOVER\n", " (desperately)\n", " Anything ---\n", "\n", " KENT\n", " It's possible I could adapt one of\n", " the torpedo guidance systems to the\n", " ICBM - so it would 'home' on the\n", " saucer when he rises from the Pole.\n", "\n", " WENDOVER\n", " What about time...?\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\" 110-A\n", "\n", " 323 (CONTINUED)\n", "\n", " SIR IAN\n", " (a glance at Reef)\n", " Cyclops will have to linger at\n", " the Pole to recharge his power\n", " banks.\n", "\n", " WENDOVER\n", " (snaps)\n", " All right - go to it.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 111.\n", "\n", "\n", " 323 (CONTINUED)\n", "\n", " WENDOVER (cont'd)\n", " (to Reef)\n", " Reef, you take over as navigator.\n", " Find us a pot-hole in the ice.\n", "\n", " And as they AD LIB orders and instructions, Kent and Sir\n", " Ian and Carl climb back down the hatch to go to work.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 324 INT. FORWARD TORPEDO ROOM - DAY - CUTS TO COVER - WORK\n", " ON MISSILE - (STOCK IF AVAILABLE - OTHERWISE DISSOLVE TO\n", " 325)\n", "\n", " with Carl, Kent, Griff and Sir Ian all at work, in-\n", " stalling complicated electronic equipment in the nose\n", " of the huge ICBM. Over this:\n", "\n", " NARRATOR\n", " Adapt a complicated guidance\n", " system to a huge ballistic rocket\n", " - convert it to a water-to-air\n", " intercept missile? It was foolish,\n", " it was insane, it was fantastic -\n", " but it was their only hope - and\n", " the earth's only hope!\n", "\n", " WIPE TO:\n", "\n", " 325 FULL SHOT - THE GROUP\n", "\n", " as Kent steps back, wipes his hands on a piece of waste.\n", "\n", " SIR IAN\n", " All ready?\n", "\n", " KENT\n", " (dourly)\n", " As ready as we can be!\n", " (walking off)\n", " I'll report to the Skipper.\n", "\n", " DISSOLVE TO:\n", "\n", "\n", " 326 SPECIAL EFFECT SHOT - THE TIGER SHARK\n", "\n", " It is rising to the surface, under the ice. And now,\n", " as it nears the surface, a BEAM OF LIGHT, like a search-\n", " light, hits it, and the water becomes brighter.\n", "\n", "- - -\n", "\n", " 112.\n", "\n", "\n", " 327 INT. CONTROL ROOM - DAY - MED. CLOSE SHOT - WENDOVER\n", " AND REEF\n", "\n", " as Reef, at the navigator's position, sings out:\n", "\n", " REEF\n", " Right under our hole in the\n", " ice, Skipper.\n", "\n", "\n", " 328 SPECIAL EFFECT SHOT - DOWN ON ICE - SEEN ON TV SCREEN\n", "\n", " We see a round, black hole of open water in the ice\n", " field.\n", "\n", "\n", " 329 INT. CONTROL ROOM - DAY - CLOSE SHOT - WENDOVER AND\n", " REEF\n", "\n", " as Wendover glues his eye toward the screen.\n", "\n", " WENDOVER\n", " What's the corrected bearing\n", " to the Magnetic Pole?\n", "\n", " REEF\n", " (checking)\n", " Minus three.\n", "\n", " Wendover sets a knob on the screen, peers at it again.\n", "\n", "\n", " 330 SPECIAL EFFECT SHOT - OPTICAL SHOT - POV\n", "\n", " All we see is fields of ice and snow. Finally the cross-\n", " hairs stop exactly at minus three.\n", "\n", "\n", " 331 MED. SHOT\n", "\n", " as Wendover gestures toward the controls.\n", "\n", " WENDOVER\n", " Take over here, Reef.\n", "\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 113.\n", "\n", "\n", " 331 (CONTINUED)\n", "\n", " Reef nods, looks at TV screen. Wendover moves to the\n", " intercom, barks:\n", "\n", " WENDOVER\n", " Prepare ICBM for firing!\n", "\n", " Then he murmurs to Reef:\n", "\n", " WENDOVER\n", " Well, that's all we can do --\n", " until our space-friend decides\n", " to blast-off.\n", "\n", "\n", " 332 SPECIAL EFFECT SHOT - THE TIGER SHARK\n", "\n", " And now, on the bow, we see the mighty ICBM lift from a\n", " recess on the deck, in front of the conning tower. It\n", " stands on end in its cradle, ready.\n", "\n", " WIPE TO:\n", "\n", "\n", " 333 INT. CONTROL ROOM - DAY - MED. TWO SHOT - REEF AND\n", " WENDOVER\n", "\n", " Reef's eyes on screen. Wendover waits tensely.\n", " Now Reef reacts.\n", "\n", "\n", " 334 SPECIAL EFFECT SHOT - OPTICAL SHOT - THROUGH SCREEN -\n", " THE ICE\n", "\n", " Suddenly, a phenomena like an undersea volcano rising.\n", " The ice rends and cracks, rises in a great bulge.\n", "\n", "\n", " 335 SPECIAL EFFECT SHOT - THE ICE\n", "\n", " It breaks up, boils, tremendous rending, tearing NOISES.\n", " Then, from the depths of the water below, a familiar oval\n", " shape - smooth, glittering, beautiful - surmounted by the\n", " gleaming cyclops eye appears. The saucer rises from the\n", " water like a great porpoise, hovers just above the ice,\n", " then begins rising slowly into the air.\n", "\n", "\n", " 336 INT. CONTROL ROOM - DAY - REACTION SHOT - WENDOVER AND\n", " REEF\n", "\n", " as Reef exclaims excitedly:\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 114.\n", "\n", "\n", " 336 (CONTINUED)\n", "\n", " REEF\n", " Skipper - I think - it is!\n", " It's Cyclops!\n", "\n", " Wendover pushes him aside for a quick look himself.\n", " Then, he leaps for the intercom, barks:\n", "\n", " WENDOVER\n", " This is the Skipper! Fire!\n", " Fire!\n", "\n", "\n", " 337 SPECIAL EFFECT SHOT - THE TIGER SHARK\n", "\n", " Now we see a discharge like compressed air below the\n", " ICBM. It floats up and away from the Shark, in a ver-\n", " tical position. Then, straight as an arrow, it heads\n", " for the surface.\n", "\n", "\n", " 338 SPECIAL EFFECT SHOT - THE HOLE IN THE ICE\n", "\n", " Now, from the black water, the ICBM leaps into-the air,\n", " like a suddenly released, air-filled ball. As it leaps\n", " above the surface, the mighty rocket engines ignite with\n", " a ROARING BLAST, and the ICBM leaps high into the air,\n", " roars up o.s.\n", "\n", "\n", " 339 SPECIAL EFFECT SHOT - WITH ICBM\n", "\n", " It rises higher and higher, faster and faster, into the\n", " sky.\n", "\n", "\n", " 340 SPECIAL EFFECT SHOT - THE SAUCER\n", "\n", " It, too, is moving faster and faster, on what should\n", " appear to be a converging course with the missile.\n", "\n", "\n", " 341 SPECIAL EFFECT SHOT - THE SKY\n", "\n", " This is the 'money' shot - to make or break the picture.\n", " In one corner of the frame, the saucer rises swiftly.\n", " But as it moves to center frame, in from the opposite\n", " corner comes the ICBM, heading straight and true for the\n", " saucer. They meet.\n", "\n", " The explosion is tremendous - a mighty, nuclear fireball,\n", " great chunks of debris hurled sizzling into space in all\n", " directions, a booming, pounding after-shock wave, then a\n", " great sweeping mushroom cloud. After this.....nothing\n", " but empty sky.\n", "\n", "- - -\n", "\n", " REVISED 5-26-59 \"ATOMIC SUBMARINE\"\n", " 115.\n", " 342 CUTS TO COVER - THE PHENOMENA ABOVE\n", "\n", " 343 INT. CONTROL ROOM - DAY - REACTION SHOT - PANNING\n", " ALL THE PRINCIPALS\n", "\n", " The shock, the exultation, the relief, then the\n", " sagging easement of tension...it is beyond words.\n", " Wendover looks at Kent, with a look more eloquent\n", " than an hour speech. Sir Ian's eyes are misty with\n", " gratitude. Carl begins trembling with reaction, and\n", " Reef puts a comforting arm around him. Griff sags\n", " onto a stool, head down, just moving his head aimlessly\n", " from side to side. Reef and Wendover exchange a look\n", " of silent understanding.\n", "\n", " SLOW DISSOLVE TO:\n", "\n", " 344 EXT. OCEAN - NIGHT - LONG UP SHOT - THE NIGHT SKY\n", " (STOCK)\n", "\n", " on a moonless night, the stars glinting and sparkling\n", " like billions of distant diamonds.\n", "\n", " 345 SHOT - BOW OF SUBMARINE - SPECIAL EFFECTS SHOT\n", "\n", " as it swishes through the water on the homeward voyage.\n", "\n", " DISSOLVE:\n", "\n", " 345-A STOCK SHOT - NAVY YARD - NIGHT (as in 38A)\n", "\n", " 346 EXT. NAVY YARD - NIGHT - TWO SHOT - REEF AND CARL\n", "\n", " As they slowly walk away from the o.s. submarine towards\n", " the gate. Carl looks thoughtfully up at the sky as he\n", " stops for a moment.\n", "\n", " CARL\n", " They're so remote - cold - beautiful,\n", " the stars. But now - I wonder -\n", "\n", " REEF\n", " (smiling fondly)\n", " Yes?\n", "\n", " CARL\n", " (whimsically)\n", " Which is the one - we have to worry\n", " about?\n", "\n", " Reef also looks up at the sky thoughtfully, shakes\n", " his head.\n", "\n", " (CONTINUED)\n", "\n", "- - -\n", "\n", " 116.\n", "\n", "\n", " 346 (CONTINUED)\n", "\n", " REEF\n", " Maybe - just 'maybe' - when their\n", " ship doesn't return - they'll\n", " decide not to come here, after all.\n", "\n", " CARL\n", " But if they do?\n", "\n", " REEF\n", " (soberly)\n", " I don't know.\n", "\n", " CARL\n", " (a slight smile)\n", " I wouldn't worry. So long as we\n", " have boats like the Tiger Shark -\n", " and people like you, the Skipper,\n", " Dave, Kent, Sir Ian and my father -\n", "\n", " REEF\n", " (smiles)\n", " And his 'egghead' son!\n", " (he punches Carl's\n", " arm jovially)\n", " We'll give 'em a rough reception,\n", " won't we?\n", "\n", " They go out.\n", "\n", "\n", " 347 EXT. STARLIT SKY - NIGHT\n", "\n", " SUPERIMPOSE:\n", "\n", " END TITLE\n", "\n", " FADE OUT:\n", "\n", "\n", "\n", "\n", "\n", " T H E E N D\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n", "\n" ] } ], "source": [ "for text in sample_urls['text']:\n", " print(text)" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "## Web Scraping" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "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." ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "" ] }, { "cell_type": "markdown", "metadata": {}, "source": [ "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.\n", "\n", "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." ] }, { "cell_type": "code", "execution_count": 116, "metadata": { "scrolled": true, "tags": [ "output_scroll", "hide-output" ] }, "outputs": [ { "name": "stdout", "output_type": "stream", "text": [ "\n", "\n", "\n", "\n", " \n", "
[Intro: Missy Elliott & Timbaland]
\n",
"[*Yawning*]
\n",
"Run the track
\n",
"
\n",
"[Chorus: Missy Elliott & Ann Peebles]
\n",
"Me I'm super fly, super dupa fly
\n",
"(I can't stand the rain) Supa dupa fly
\n",
"Me I'm super fly, (against my window) super dupa fly
\n",
"(I can't stand the rain) supa dupa fly
\n",
"Me I'm super fly, (against my window) super dupa fly
\n",
"(I can't stand the rain) supa dupa fly
\n",
"Me I'm super fly, (against my window)
\n",
"
\n",
"[Verse 1: Missy Elliott]
\n",
"When the rain hits my window
\n",
"I take and *cough* me some indo
\n",
"Me and Timbaland, ooh, we sang a jangle
\n",
"We so tight that you get our styles tangled
\n",
"Sway on dosie-do like you loco
\n",
"Can we get kinky tonight?
\n",
"Like Coko, so-so
\n",
"You don't wanna play with my Yo-Yo
\n",
"I smoke my hydro on the D-low (D-D-D-D-D-low)
\n",
"
\n",
"[Hook: Ann Peebles]
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain
\n",
"
\n",
"[Verse 2: Missy Elliott]
\n",
"Beep, beep, who got the keys to the Jeep, vroom
\n",
"I'm driving to the beach
\n",
"Top down, loud sounds, see my peeps
\n",
"Give them pounds, now look who it be
\n",
"It be me, me, me and Timothy
\n",
"Look like it's 'bout to rain, what a shame
\n",
"I got the Armor-All to shine up the stain
\n",
"Oh, Missy, try to maintain
\n",
"Icky-icky-icky-icky-icky-icky-icky
\n",
"
\n",
"[Hook: Ann Peebles]
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain
\n",
"
\n",
"[Verse 3: Missy Elliott & Ann Peebles]
\n",
"I feel the wind
\n",
"5, 6, 7, 8, 9, 10
\n",
"9, 10
\n",
"Begin, I sit on Hills like Lauryn
\n",
"Until the rain starts coming down, pouring
\n",
"Chill, I got my umbrella
\n",
"My finger waves these days, they fall like Humpty
\n",
"Chumpy, I break up with him before he dump me
\n",
"To have me, (I can't stand the rain), yes, you lucky (against my window)
\n",
"
\n",
"[Outro: Ann Peebles]
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain
“The Rain” is as impressionistic as any lyric in rap; it sets a numinous mood. Furthermore,
\n", "\n", "\n", "\n", "\n", "\n", "
The song samples “I Can’t Stand The Rain” by Ann Peebles.
\n", "This song peaked at #4 on Billboard’s Hot R&B/Hip-Hop Songs.
\n", " | Paragraph |\n",
"| [Intro: Missy Elliott & Timbaland] “The Rain” is as impressionistic as any lyric in rap; it sets a numinous mood. Furthermore, The song samples “I Can’t Stand The Rain” by Ann Peebles. This song peaked at #4 on Billboard’s Hot R&B/Hip-Hop Songs.
| Line break |\n",
"| <\\!\\-\\-comment here-\\-> | Comment |\n",
"| | Image |\n",
"| | Hyperlink |\n",
"| | Unordered list |\n",
"|
| Ordered list |\n",
"|
Kittens and the TV Shows They Love
\n",
"Fluffy
\n",
"\n",
"\n",
"
\n",
"\t\t\tLast check-up: 2014-01-17\n",
"Monsieur Whiskeurs
\n",
"\n",
"\n",
"
\n",
"\t\t\tLast check-up: 2013-11-02\n",
"Kittens and the TV Shows They Love
"
]
},
"execution_count": 118,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"document.find(\"h1\")"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"If we want only the text contained between those tags, we can use `.text` to extract just the text."
]
},
{
"cell_type": "code",
"execution_count": 146,
"metadata": {},
"outputs": [
{
"data": {
"text/plain": [
"'Kittens and the TV Shows They Love'"
]
},
"execution_count": 146,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"document.find(\"h1\").text"
]
},
{
"cell_type": "code",
"execution_count": 147,
"metadata": {},
"outputs": [
{
"data": {
"text/plain": [
"str"
]
},
"execution_count": 147,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"type(document.find(\"h1\").text)"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"Find the HTML element that contains an image."
]
},
{
"cell_type": "code",
"execution_count": 120,
"metadata": {
"tags": [
"hide-output"
]
},
"outputs": [
{
"data": {
"text/plain": [
""
]
},
"execution_count": 120,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"document.find(\"img\")"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"### Extract Multiple HTML Elements"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"You can also extract multiple HTML elements at a time with `.find_all()`"
]
},
{
"cell_type": "code",
"execution_count": 121,
"metadata": {},
"outputs": [
{
"data": {
"text/plain": [
"[,\n",
" ]"
]
},
"execution_count": 121,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"document.find_all(\"img\")"
]
},
{
"cell_type": "code",
"execution_count": 122,
"metadata": {
"tags": [
"hide-output"
]
},
"outputs": [
{
"data": {
"text/plain": [
"[Fluffy
\n",
" \n",
" \n",
"
\n",
" \t\t\tLast check-up: 2014-01-17\n",
" Monsieur Whiskeurs
\n",
" \n",
" \n",
"
\n",
" \t\t\tLast check-up: 2013-11-02\n",
" Fluffy
, Monsieur Whiskeurs
]"
]
},
"execution_count": 148,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"document.find_all(\"h2\")"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"``` {warning}\n",
"Heads up! The code below will cause an error.\n",
"```"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"Let's try to extract the text from all the header2 elements:"
]
},
{
"cell_type": "code",
"execution_count": 70,
"metadata": {
"tags": [
"hide-output"
]
},
"outputs": [
{
"ename": "AttributeError",
"evalue": "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()?",
"output_type": "error",
"traceback": [
"\u001b[0;31m---------------------------------------------------------------------------\u001b[0m",
"\u001b[0;31mAttributeError\u001b[0m Traceback (most recent call last)",
"\u001b[0;32mFluffy
, Monsieur Whiskeurs
]"
]
},
"execution_count": 128,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"all_h2_headers"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"First we will make an empty list called `h2_headers`.\n",
"\n",
"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."
]
},
{
"cell_type": "code",
"execution_count": 16,
"metadata": {},
"outputs": [],
"source": [
"h2_headers = []\n",
"for header in all_h2_headers:\n",
" header_contents = header.text\n",
" h2_headers.append(header_contents)"
]
},
{
"cell_type": "code",
"execution_count": 17,
"metadata": {},
"outputs": [
{
"data": {
"text/plain": [
"['Fluffy', 'Monsieur Whiskeurs']"
]
},
"execution_count": 17,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"h2_headers"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"````{admonition} Python Review: List Comprehensions\n",
":class: pythonreview\n",
"How might we transform this for loop into a *list comprehension*?\n",
"```\n",
"#For Loop\n",
"h2_headers = []\n",
"for header in all_h2_headers:\n",
" header_contents = header.text\n",
" h2_headers.append(header_contents)\n",
"```\n",
"````"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"**Check out the *list comprehension* answer here**"
]
},
{
"cell_type": "code",
"execution_count": 18,
"metadata": {
"tags": [
"hide-cell"
]
},
"outputs": [
{
"data": {
"text/plain": [
"['Fluffy', 'Monsieur Whiskeurs']"
]
},
"execution_count": 18,
"metadata": {},
"output_type": "execute_result"
}
],
"source": [
"h2_headers = [header.text for header in all_h2_headers]\n",
"h2_headers"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"## Inspect HTML Elements with Browser"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"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."
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
""
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"For example, if we hover over the main header:"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
""
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"## Your Turn!"
]
},
{
"cell_type": "markdown",
"metadata": {},
"source": [
"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?"
]
},
{
"cell_type": "code",
"execution_count": 20,
"metadata": {},
"outputs": [],
"source": [
"response = requests.get(\"https://genius.com/Missy-elliott-the-rain-supa-dupa-fly-lyrics\")\n",
"html_str = response.text\n",
"\n",
"document = BeautifulSoup(html_str, \"html.parser\")"
]
},
{
"cell_type": "code",
"execution_count": 21,
"metadata": {
"scrolled": true,
"tags": [
"output_scroll"
]
},
"outputs": [
{
"data": {
"text/plain": [
"\n",
"\n",
"\n",
"\n",
"\n",
"
Check @genius for updates. We'll have things fixed soon.\n",
" The Rain (Supa Dupa Fly)
\n",
"\n",
"Missy Elliott\n",
"
\n",
"\n",
"
\n",
"\n",
"
\n",
" \n",
"\n",
"
\n",
" \n",
"The Rain (Supa Dupa Fly) Lyrics
\n",
"
\n",
"[*Yawning*]
\n",
"Run the track
\n",
"
\n",
"[Chorus: Missy Elliott & Ann Peebles]
\n",
"Me I'm super fly, super dupa fly
\n",
"(I can't stand the rain) Supa dupa fly
\n",
"Me I'm super fly, (against my window) super dupa fly
\n",
"(I can't stand the rain) supa dupa fly
\n",
"Me I'm super fly, (against my window) super dupa fly
\n",
"(I can't stand the rain) supa dupa fly
\n",
"Me I'm super fly, (against my window)
\n",
"
\n",
"[Verse 1: Missy Elliott]
\n",
"When the rain hits my window
\n",
"I take and *cough* me some indo
\n",
"Me and Timbaland, ooh, we sang a jangle
\n",
"We so tight that you get our styles tangled
\n",
"Sway on dosie-do like you loco
\n",
"Can we get kinky tonight?
\n",
"Like Coko, so-so
\n",
"You don't wanna play with my Yo-Yo
\n",
"I smoke my hydro on the D-low (D-D-D-D-D-low)
\n",
"
\n",
"[Hook: Ann Peebles]
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain
\n",
"
\n",
"[Verse 2: Missy Elliott]
\n",
"Beep, beep, who got the keys to the Jeep, vroom
\n",
"I'm driving to the beach
\n",
"Top down, loud sounds, see my peeps
\n",
"Give them pounds, now look who it be
\n",
"It be me, me, me and Timothy
\n",
"Look like it's 'bout to rain, what a shame
\n",
"I got the Armor-All to shine up the stain
\n",
"Oh, Missy, try to maintain
\n",
"Icky-icky-icky-icky-icky-icky-icky
\n",
"
\n",
"[Hook: Ann Peebles]
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain
\n",
"
\n",
"[Verse 3: Missy Elliott & Ann Peebles]
\n",
"I feel the wind
\n",
"5, 6, 7, 8, 9, 10
\n",
"9, 10
\n",
"Begin, I sit on Hills like Lauryn
\n",
"Until the rain starts coming down, pouring
\n",
"Chill, I got my umbrella
\n",
"My finger waves these days, they fall like Humpty
\n",
"Chumpy, I break up with him before he dump me
\n",
"To have me, (I can't stand the rain), yes, you lucky (against my window)
\n",
"
\n",
"[Outro: Ann Peebles]
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I I can't stand the rain against my window
\n",
"I can't stand the rain against my window
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain
\n",
"I can't stand the rain\n",
" About “The Rain (Supa Dupa Fly)”\n",
"
\n",
"\n",
"\n",
"
\n",
"
\n",
"How did this song chart?
\n",
"\"The Rain (Supa Dupa Fly)\" Track Info
\n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
" \n",
"