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(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | climbs | How many times the word 'climbs' appears in the text? | 3 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | town | How many times the word 'town' appears in the text? | 2 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | spinning | How many times the word 'spinning' appears in the text? | 2 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | long | How many times the word 'long' appears in the text? | 1 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | collection | How many times the word 'collection' appears in the text? | 0 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | wretched | How many times the word 'wretched' appears in the text? | 2 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | shut | How many times the word 'shut' appears in the text? | 3 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | collops | How many times the word 'collops' appears in the text? | 0 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | blizzard | How many times the word 'blizzard' appears in the text? | 2 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | recount | How many times the word 'recount' appears in the text? | 1 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | nowhere | How many times the word 'nowhere' appears in the text? | 1 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | adds | How many times the word 'adds' appears in the text? | 0 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | hat | How many times the word 'hat' appears in the text? | 2 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | present | How many times the word 'present' appears in the text? | 0 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | partitioned | How many times the word 'partitioned' appears in the text? | 0 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | down | How many times the word 'down' appears in the text? | 3 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | robinson | How many times the word 'robinson' appears in the text? | 1 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | under | How many times the word 'under' appears in the text? | 1 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | blonde | How many times the word 'blonde' appears in the text? | 2 |
(CONT'D) (beat) You're gonna get laid, too, Stumpy! STUMP Maybe I don't wanta get laid! COBB You queer?! STUMP I'm married. COBB I thought you were divorced. STUMP We're in the middle of a... problem. We're talking. COBB Talking my ass! Quit hanging on -- get a divorce. Is that why you don't wanta get laid in Reno? 'Cause you're feeling loyal to a woman you're divorcing? That's really stupid, Stumpy... STUMP I'm not getting a divorce. I'm being loyal. COBB Is that why you used to wine and dine that little brunette who had an office across the courtyard from you in Santa Barbara? Stump is nailed. STUMP What do you know about her?! COBB I do my homework, Stumpy. I know where the bodies are buried. STUMP (defensively) It didn't last long! (CONTINUED) 52. 62 CONTINUED: (2) 62 COBB Hey, no need to defend yourself. When it comes to women I'm a total shit -- the difference is, Stumpy, that I know I'm a shit. STUMP Nobody knows about the brunette. COBB Our little secret, huh? (beat) And that part about me being a shit with women? That ain't gonna be in the book. STUMP I gotta put your family in my book. COBB Your book?! My book! And nothing about my ex-wives or children are gonna be in it. My book is about baseball! STUMP My book is about Cobb! COBB Cobb is baseball! INTERCUT: 63 EXT. HIGHWAY 63 Suddenly something appears ahead on the roadside. Cobb doesn't see it. Stump does. It looks like a figure, huddled, wrapped, immobile in the swirling snow. It can't be... STUMP Ty! Look! It's a man! THEIR POV - FIGURE attempts to wave at the car. A nearly-frozen, desperate attempt to flag down the car. BACK TO SCENE COBB Fuck him... (CONTINUED) 53. 63 CONTINUED: 63 STUMP Stop the car! Cobb brakes -- the car spins to a stop some distance past the figure standing knee-deep in snow. COBB Whoever it is he's gotta be pretty stupid to be out in this shit. STUMP We're out in this shit! And Stump climbs out of the car. CUT TO: 64 EXT. SIDE OF ROAD (BLIZZARD) - DUSK 64 Stump trudges back to the half-frozen figure who flails his arms stiffly at the apparition of a car in all this. The figure is wrapped in blankets, his head covered. We cannot see who it is until we are in his face. FIGURE IN SNOW Help me. Please help me. STUMP My God... it's you. Are you okay? It is Willie, the black man who Cobb fired the day before. WILLIE (FIGURE IN SNOW) I can't believe you found me... STUMP Let me help you to the car. WILLIE I told you that you'd only last one day with the bastard. STUMP Cobb's in the car. He's driving. Willie stops trudging toward the car. WILLIE Mr. Cobb's in the car? STUMP Yeah... (CONTINUED) 54. 64 CONTINUED: 64 WILLIE Then I'm not getting in the car with that son of a bitch. I'd rather take my chances out here. STUMP You're coming! And Stump drags Willie to the car, though the man is re- luctant the whole way, he is in no condition to resist. WILLIE (muttering the whole way) He hates me. He hates black people... STUMP He fucking hates everybody. Don't give him the pleasure of dying out here. WILLIE If dying out here gives him pleasure then I won't die out here. They get to the car -- Stump opens the back door to help the nearly-frozen man into the car. Cobb grumbles. STUMP Ty, it's Willie. We can give him a lift to town. COBB Bullshit! I ain't givin' no nigger a ride nowhere! CUT TO: 65 INT. STUMP'S CAR - DUSK 65 And Stump loses it -- he grabs Cobb's pistol off the seat of the car and aims it right at Cobb's head. STUMP Shut the fuck up and give him a ride! COBB Now who's the coward! You won't shoot me! You need me! Stump hands the gun to Willie..... (CONTINUED) 55. 65 CONTINUED: 65 STUMP No. But I'm sure Willie would take great pleasure in it. Willie climbs into the back seat with the gun. Cobb is livid. COBB You'll pay for this, Stumpy... STUMP Say, Willie, you a baseball fan? WILLIE Yessir... STUMP Who's the greatest ballplayer of all time, in your opinion? WILLIE Willie Mays, no doubt about it. COBB That nigger couldn't hold my jock! STUMP Excuse me, Mr. Cobb, the man is speaking... 66 NEW ANGLE 66 And Cobb jumps on the gas -- the car races off, back down the mountain, fishtailing as it goes. WILLIE And I'd say the second greatest player of all time is Jackie Robinson... or maybe Josh Gibson... COBB Shut up!! WILLIE And of course, the greatest base runner of all time isn't riding in this car -- the fastest baseball player of all time was Cool Papa Bell -- Cool Papa would've easily broke all your stolen base records -- (CONTINUED) 56. 66 CONTINUED: 66 COBB Noooooo! WILLIE Cool Papa was so fast that when he entered a hotel room and flipped the light switch off, he'd be asleep in bed before it got dark... STUMP And then there's Satchel Paige... WILLIE Oh yeah, Satchel Paige could throw a porkchop past a wolf, Mr. Cobb, ol' Satchel woulda had you eatin' outta his hand, he woulda had you hittin' .220 and kissin' his black ass to boot... COBB Shut this man up! WILLIE The man with the gun does the talking, you wretched, old prick... 67 LONG SHOT - CAR 67 racing down the highway in the snow, and we go out hearing Willie recount the greatest ballplayers of all time -- all of them black -- as Cobb seethes, a gun to his head. Stump feeds Willie, watching Cobb's racism simmer. Into the storm the car disappears -- fishtailing down the mountain. The blizzard grows thicker, the flurries taking over the mountain, until all we see is -- The thick snow falling from the dark sky. Suddenly -- STUMP Ice! Slow down! Tyyyy! 68 POV - STEEP DOWNGRADE 68 as slick as a bobsled run. (CONTINUED) 57. 68 CONTINUED: 68 CLOSE ON STUMP Terror. CLOSE ON WILLIE Terror. He lowers the gun and hangs on for dear life. CLOSE ON COBB He accelerates with vengeance. 69 CAR 69 wobbles and starts spinning -- out of control, then spinning continuous 360s down the grade. 70 CLOSE ON THREE MEN 70 The world spins around them as they cling for their lives. Until: THUD -- the car slams into a bank of snow. Suddenly, silence. The three men sit without speaking for several beats, slowly acknowledging that they have survived. Finally: COBB Fucked up roads. They don't build highways like they used to. 71 POV - HOTEL SIGN IN DISTANCE 71 glows a welcome sign in the night. It is no longer snowing. BACK TO SCENE WILLIE Well, Mr. Cobb, thank you for a lift into town... Willie hands the gun to Stump and climbs out of the car, bidding farewell to Stump as he does. (CONTINUED) 58. 71 CONTINUED: 71 WILLIE And you, sir, should leave this disgusting, wretched, sorry son of a bitch immediately. Good evening. Willie tips his hat and trudges to the neon glow in the distance. Cobb and Stump alone in the car. They both look out -- the car is buried, hood deep, in the bank of snow. CUT TO: 72 EXT. EDGE OF RENO - NIGHT 72 Under the famous arch that reads: "The Biggest Little City in the World," a tow truck pulls Stump's car into town, and up to: EXT. LAST CHANCE HOTEL - NIGHT The truck stops -- Stump helps Cobb out and into the old style building adjacent to the gaudier casinos. CUT TO: 73 INT. LAST CHANCE HOTEL - NIGHT 73 Stump helps Cobb to the registration desk in a clean, but very modest old hotel. A WOMAN, 30s, stands at the counter in the middle of some dispute with the clerk. She wears a long, cheap, plain- cloth overcoat and galoshes. Stump bursts in, oblivious to the conversation in progress. STUMP Two rooms, please... The woman turns to confront the two men. Now we see her. On a fabulous platinum-blonde wig is stuck a yellow slicker-type rain hat. The ear flaps are awry, the platinum-blonde wig curls up around it -- the effect is thrilling. (CONTINUED) 59. 73 CONTINUED: 73 WOMAN IN WIG Stand back, you old farts. I'm in the middle of something -- (back to clerk) The heat's on the blink and the mattress is lumpy -- I want a discount. CLERK Aw, c'mon, you always want a discount, Mona. RAMONA (WOMAN) Ra-mona... and the mattress is always lumpy -- Cobb pulls out a bottle of pills and washes a handful down with a deep swig from a pint bottle of whiskey. The Clerk looks on with alarm. STUMP Excuse me, I've gotta get him checked in. He's very sick. RAMONA We're all sick in the eyes of God -- but some of us still have manners. She whirls and leaves the lobby, leaving the three men. STUMP Two rooms, next to each other. CUT TO; 74 INT. COBB'S ROOM - NIGHT 74 Stump helps Cobb shoot up with insulin -- The needle clumsily groping for a vein in the old man's arm. CLOSE ON COBB His face looks terrible, drawn, drained. Cobb reaches into his pouch and pulls out a bundle of cash and security notes, tied neatly with a string. COBB (barely audible) My money... (CONTINUED) 60. 74 CONTINUED: 74 STUMP Your money's okay, Ty, right here... COBB My gun... STUMP Your gun's okay, too... right here... And Stump hands Cobb his beloved pistol, which Cobb takes with great affection and comfort. Stump helps Cobb into bed, covering him with a blanket. The gun and the money sit on the pillow next to his head. Cobb speaks with great pain just before he passes out from pain, drugs, and exhaustion. COBB We haven't missed the testimonial dinner, have we? STUMP No we haven't missed the dinner... COBB Good, good... Cobb manages a small, pained smile before drifting off into sleep. Stump turns off the light and exits. CUT TO: 75 INT. STUMP'S ROOM NEXT DOOR - NIGHT 75 Stump pours a glass of vodka, settles into a chair, and dials the phone. He swallows deeply of the drink, and waits. STUMP (on phone) Hello? Happy Birthday! It's your Daddy! Yeah! (beat) Your birthday was yesterday?! No, it couldn't be! Stump quickly checks a calendar on the wall and realizes he's missed his son's birthday. (CONTINUED) 61. 75 CONTINUED: 75 STUMP (on phone) Omigod, what can I say? I feel terrible -- no, it's not okay, jeez... When I get off the road we'll do something special -- a late birthday, eh? Maybe you can go to spring training or something with me, eh? Yeah... (beat) Listen, is your mother there? (beat) I know she doesn't want to speak to me, but I want to speak to her. (waits for answer) Okay, okay -- I feel terrible about the birthday... I'll call you real soon. And tell your mother I'm not drinking anymore. Okay... 'bye, 'bye... Stump hangs up the phone -- Takes a deep breath, and... He pours another drink, and sits down to his typewriter. STUMP Fuck it... Stump is hunkered over his typewriter pounding away. His VOICE OVER indicates what he is writing. STUMP (V.O.) I was a fool for thinking Cobb's brilliance might be what I needed at this moment of my life... Ty Cobb was the last thing I needed. (beat) He was not misunderstood -- he was understood perfectly well. He hated blacks, he hated Jews, he hated Catholics -- he hated everything except himself and his own view of the world... (beat) At times it seemed like he would drop dead in front of me... (beat) ... and other times he seemed indestructible... (MORE) (CONTINUED) 62. 75 CONTINUED: (2) 75 STUMP (V.O.) (CONT'D) (beat) I was reluctant to view the great Ty Cobb as a pathetic character, lost in the past, paranoia, and the shallow defense of 'his own breeding'... We hear SOUNDS of the TYPEWRITER BANGING away as... We DRIFT OUT the window -- Leaving Stump to write all night, at first viewing through the window, then moving until we have a view of -- 76 EXT. VIEW OF RENO - NIGHT 76 We hear the incessant BANGING OF the TYPEWRITER GRADUALLY FADE AWAY... DISSOLVE TO: 77 INT. STUMP'S ROOM AT HOTEL - DAY 77 Stump asleep -- full sun shines in the window. Noon. A BOTTLE CRASHES against the headboard jarring Stump to consciousness. He looks up to see: Cobb reading the pages in a rage. He tears them as he does. COBB 'Pathetic, paranoid, lost in the past!' What is this shit?! Stump awakens slowly, disoriented, amidst a shattered bottle. STUMP Those are my notes! You can't look at my notes! COBB You're notes -- my life! You're gonna betray me, you son of a bitch! STUMP You want the truth? I'm gonna tell the truth! (CONTINUED) 63. 77 CONTINUED: 77 COBB Whose truth? STUMP Mine, for crissakes, I'm the writer! COBB But I'm the legend and legends are not pathetic! STUMP (slightly defensive) These are just notes... COBB Don't you understand anything about 'greatness'? STUMP Maybe you should find another writer. COBB There's not enough time left. This frank admission momentarily stops Stump. STUMP I'm entitled to my opinions -- COBB Now that's pathetic. Who gives a good God damn about the opinions of Al Stump?! What people want to know about is Ty Cobb! And they don't want to know who he hates 'cause everybody hates somebody! They don't wanta know if he had two wives or ten! They don't wanta know if he hit women or if they hit him! STUMP You think they wanta know how to steal second base? COBB Yes! Precisely! STUMP Well I don't! (CONTINUED) 64. 77 CONTINUED: (2) 77 COBB Oh, oh, oh... I get it. You're one of them college psychology type guys. You wanta find the missing piece to finish the puzzle known as the Madman Cobb -- you think you're the next Hemingway but you're just a moderate success in a moderate-sized pond. STUMP Fuck you, Cobb! I'm much more than a moderate success! COBB That's it, now you're showing some life. You want psychology? I'll give you some fucking psychology! STUMP (cynically) I'm all ears. COBB My father was a great man... DISSOLVE TO: 78 EXT. MOONLIT ROAD THROUGH SOME GEORGIA WOODS - NIGHT - 78 (B&W) A horse shakes its head, attached to a buggy. A man pats the horse and ties it to a tree. COBB (V.O.) My father told my mother he was going out of town for the weekend on business. But he didn't go. He came back 'cause he thought she was being unfaithful... 79 INT. HOUSE - NIGHT (B&W) 79 The woman preparing for bed. COBB (V.O.) I don't know why he thought it -- 'cause my mother was a wonderful woman -- but he thought it. 65. 80 EXT. HOUSE - NIGHT (B&W) 80 The father climbing up the trellis onto the balcony. COBB (V.O.) My father thought he would catch the man who was trying to steal his wife from him... catch him in the act... 81 FATHER (B&W) 81 pulls a gun as he nears the window. INT. HOUSE - NIGHT (B&W) The woman hears noises on the balcony and leaps out of bed in terror. CLOSE ON WOMAN (B&W) She turns and looks toward the bed. We don't see whatever she's looking at. WOMAN'S POV (B&W) The window. It starts to open. COBB (V.O.) My father had high standards... the highest. He believed in quality... he believed in education... he believed in God... he believed in me... he believed in my mother... But on that night he seemed like a prowler... and so -- 82 EXT. BALCONY - NIGHT (B&W) 82 A SHOTGUN BLAST takes out Cobb's father's stomach and he reels back onto the balcony. He rolls to his elbows and looks up. COBB (V.O.) My mother killed my father... shot him in the belly... (beat) And then blew his head clean off... (CONTINUED) 66. 82 CONTINUED: 82 A SECOND SHOTGUN BLAST takes his head off. CUT TO: 83 INT. STUMP'S ROOM AT HOTEL - DAY 83 Cobb stands above Stump who is still in bed. COBB How's that? A pretty God damn good piece of psychology, eh? That what you're looking for? The childhood incident that explans me?! Cobb spits on the papers of Stump's text. COBB Well I was a prick before it happened and a bigger prick after it happened so stick that up your Sigmund Freud ass! Silence. Stump is shaken by this story. STUMP Your mother killed your father? COBB And you ain't printing it. STUMP I have to. COBB Not if I say so. I don't think you understand something -- I have final editorial approval of the book. STUMP No, I do. I always have it. COBB Did you read your contract? STUMP It's my standard contract. I just signed. I would never have agreed to this if you had final approval. (CONTINUED) 67. 83 CONTINUED: 83 Cobb calmly picks up the phone and hands it to Stump. COBB Call your agent. Stump quickly dials and gets an answer. STUMP Hello? Charlie? Al... I'm in Reno... yeah... things are fine... (beat) Yeah, listen... I'm just checking... did we give away final editorial approval on this Cobb book? (long beat of disbelief) We did? Cobb has it? Jesus... Stump listens long and hard -- his face sinks. Cobb smiles and hangs the phone back up for Stump who reaches for the bottle on the nightstand and pours himself a morning drink of vodka. COBB Well, you were pretty stupid to give up approval, weren't ya? STUMP Fuck you, Cobb? COBB Fuck me? Why me? (suddenly charming) Why you mad at me? Your agent made the deal, your lawyer, your publisher, you didn't even read the contract because you trusted them! Who the hell ever trusted a lawyer or an agent?! If I was Al Stump, the guy I'd be pissed off at would be Al Stump! STUMP Listen to me, you son of a bitch -- if you die before the book is finished, I'll write the story I want. COBB But I ain't dying first. STUMP I'll write slow. (CONTINUED) 68. 83 CONTINUED: (2) 83 COBB I'll die slow. Cobb lights a big cigar -- and sets fire to Stump's pages. Both men watch them go up in smoke. COBB Now get dressed so we can go find some women... Stump just stares back -- exhausted and overmatched. CUT TO: 84 INT. HARRAH'S CLUB (RENO) - NIGHT 84 The main room -- Showtime. In progress. LOUIS PRIMA WITH KEELY SMITH are thrilling a packed house full of dinner tables. LOUIS PRIMA AND GROUP 'That old black magic has me in its spell, That old black magic that you weave so well..' Cobb and Stump at a table drinking and eating. A cigarette girl works the room at a nearby table. She's all legs and fishnet stockings... and wig. COBB Look't that -- hundred bucks says I get in her pants before dawn. The cigarette girl turns and we recognize her. STUMP My God -- it's Mona... Ra-mona... We met her at the hotel... Ramona is a vision in this outfit as she approaches them. COBB I don't remember... Ramona arrives at their table. RAMONA Cigarettes, gentlemen? Cigars? We stockpiled some Havanas before Senor Castro did his little number. (CONTINUED) 69. 84 CONTINUED: 84 STUMP Coupla Monte Cristos, Ramona, number twos. RAMONA Have we met? STUMP At the hotel -- checking in. RAMONA Ohyeah, you were the asshole. Cobb is suddenly gallant, gentlemanly, even charming. COBB Excuse me, young lady, I must apologize for the behavior of my friend -- he has a crude side. Ramona delivers the cigars and collects the money. Stump is a bit chagrined and caught off guard by this Cobb. RAMONA I accept. COBB Ramona... Spanish name... lovely... it means 'moonlit garden of the gods'... RAMONA Actually it's German and means 'wise protectoress' but thanks for the thought... INTERCUT WITH: ONSTAGE Louis Prima takes the mike -- His number has finished to much applause from the drunken crowd. LOUIS PRIMA Ladies and gentlemen, thank you very much, you're a great crowd ... I have been informed that we have a celebrity with us tonight who is a legend, a man who truly needs no introduction... (MORE) (CONTINUED) 70. 84 CONTINUED: (2) 84 LOUIS PRIMA (CONT'D) (beat) ... so let's give a Harrah's Casino warm welcome to the greatest baseball player of all time, the one and only Ty Cobb! The spotlight flies to Cobb who kisses Ramona's hand. Stump has been left out of the exchange, and mumbles. STUMP 'Moonlit garden of the gods'? The audience stands to applaud Cobb -- Full and genuine. Cobb graciously waves to the crowd, bowing, basking. BACK ONSTAGE - LOUIS PRIMA motions to his band. LOUIS PRIMA And this one's for the Georgia Peach! They break into "Sweet Georgia Brown." LOUIS PRIMA/KEELY SMITH No gal made has got a shade on Sweet Georgia Brown, Two left feet but oh so sweet is Sweet Georgia Brown... Cobb breaks into a little dance with Ramona at the table, much to Stump's (and Ramona's) amazement. For a moment, at least, there is great footwork and lightness in his movement -- we get a glimpse of the great athlete he once was. LOUIS PRIMA The great Ty Cobb! C'mon up here! STUMP They want you, Ty -- COBB Of course they want me. And Cobb heads for the stage, walking better but not without effort, a walk enhanced by drugs and booze. As he does, Ramona turns to Stump. (CONTINUED) 71. 84 CONTINUED: (3) 84 RAMONA Who's that? STUMP The greatest baseball player of all time. RAMONA I don't know baseball from shmaseball but I know a nice man when I see one and I also know it's time for my coffee break. Hasta luego. And she's off with her trayful of tobacco to the cocktail lounge. BACK ONSTAGE As Cobb arrives... LOUIS PRIMA AND GROUP (singing) Fellas, she can't get, are fellas, she ain't met, Georgia made her, Georgia claimed her, Sweet Georgia Brown. Louis Prima welcomes Cobb to the mike to thunderous applause. LOUIS PRIMA My great pleasure, sir -- (shaking hands) I've always wanted to ask you something, Mr. Cobb, with all the great ballplayers playing right now -- how well do you think you'd do against today's players? COBB Well, I figure against today's pitchers I'd only hit about .275, .280... LOUIS PRIMA That's amazing, Mr. Cobb, considering your lifetime average is nearly a hundred points higher. Why do you think you'd only hit .275 against today's pitchers? (CONTINUED) 72. 84 CONTINUED: (4) 84 COBB Because I'm 72 fucking years old, that's why, God damn it. Give me that thing. Cobb grabs the mike and takes over. COBB First of all I wanta thank you for that song, 'Sweet Georgia Brown... it's a great song about my home state and I appreciate it... (beat) That song has become the theme song for the Harlem Globetrotters... (as Prima nods with a smile) It's too bad such a fine song had to be stole by a buncha niggers playing a faggot game in their underwear... Prima and his cohorts are aghast. They cling to the hope that this is some put-on, some joke. They force a small, unnatural laugh. Stump winces and leaves the room, heading for the bar. COBB 'Course the Globetrotters are owned by a Jew named Saperstein so whadda you expect? A disaster. Prima tries gamely to seize the mike back. LOUIS PRIMA Thank you very much. Another round of applause for the Georgia Peach, Ty Cobb! COBB I got the mike, Dago -- gimme a God damn minute. Nobody's got respect for their elders any more. Cobb turns to the crowd which, even in it's drunken state, is appalled and in disbelief. (CONTINUED) 73. 84 CONTINUED: (5) 84 COBB Now let me explain to you how to hit a baseball. It's a lost art. Ever since that half-nigger Ruth started hitting home runs, the skill, the art, and the science have been lost. Cobb grabs a clarinet from a member of Prima's band. COBB Now, say this is a bat... BACKSTAGE The CASINO MANAGERS and SECURITY FORCES are quickly gathering to figure out what to do. CASINO MANAGER Let's just haul him off -- SECURITY OFFICER That's Ty Cobb! He'll fucking kill me! COBB You see, the bat is like a wand, a magic wand... it should be caressed, held like a woman... like a woman who's really in need of a man... OFFSTAGE The Casino Manager winces and consults. CASINO MANAGER Oh God, here we go... COBB Hitting a baseball is really very easy... you can't force it... you can't overpower it... you go with the pitch... you let the bat do the work... it's all rhythm and flow... And Cobb starts demonstrating hitting techniques to the bewildered audience and casino staff. He strikes that familiar, strange stance -- choked up on the bat, a split grip, the bat held parallel to the ground... CUT TO: 74. 85 INT. CASINO BAR - NIGHT 85 Stump sees Ramona at the bar, her cigarette/cigar tray on the bar. She's smoking and working her way through a tall drink. He approaches her. STUMP Excuse me. RAMONA You again? You could learn some manners from your friend. STUMP I'll try harder. (motions for bartender) You're a beautiful woman. RAMON It's the wig. Ramona pulls the wig off her head revealing a sea of bobby pins and hair pins tying her natural brown hair to her head. She sets the wig on the counter and scratches her natural scalp. RAMONA The damn thing itches but it's good for tips. Give me a scratch, will ya? Stump scratches the back of her scalp, somewhat embar- rassed and somewhat aroused. RAMON Turn you on? Hey, Harvey, another round. On him. STUMP Vodka and grapefruit juice. Ramona slaps the wig back on her head. Slightly akilter. She doesn't care. Harvey delivers another round. STUMP Your wig's crooked. RAMONA Does it bother you? STUMP No, no... I was just -- (CONTINUED) 75. 85 CONTINUED: 85 RAMONA (bored, shrugging) You wanta go to bed with me, right? Stump is so taken aback that he doesn't know how to answer. Flustered, he looks around, then takes a deep hit on his drink. He is very unsure. STUMP You want money? RAMONA I'm not a whore! I don't screw for money?! Jesus! STUMP I'm sorry. I didn't know. I mean I'm not good at this. RAMONA Just divorced, huh? STUMP Not yet... RAMONA It's written all over ya. Giant letters right across the forehead. D-I-V-O-R-C-E. Ha! Plain as day. Ramona lets out a loud, hearty laugh without inhibition. STUMP It's obvious, huh? RAMONA Obvious. (beat) So, if ya wanta pay me to screw, I won't do it. STUMP Then I won't. RAMONA Screw or pay? STUMP Whichever. (CONTINUED) 76. 85 CONTINUED: (2) 85 RAMONA So ya don't wanta screw? STUMP No, I do. RAMONA All this ambiguity -- I see why she's divorcing ya. Stump, completely befuddled, lets down completely. He doesn't care about getting laid or drunk or anything for the moment, except having someone to talk to -- the some- one is Ramona. STUMP I don't know what I'm saying or doing anymore... I'm trying to speak my heart. RAMONA Oh God... STUMP I told my wife I wanted a divorce. She said 'okay' -- then I realized maybe I don't. RAMONA Then go back to her. STUMP No. RAMONA Then quit crying. You want a divorce, you don't want a divorce, you're asking marital advice from a woman you're trying to get in the sack -- Jeez Louise! STUMP I'm not myself. RAMONA Who is? A sigh. Stump is lost. He motions to the bartender. (CONTINUED) 77. 85 CONTINUED: (3) 85 STUMP Another round, Harvey. (back to Ramona) This assignment has me befuddled. I'm supposed to tell the world that a monster is really a prince. I'm supposed to lie. RAMONA You being paid? STUMP Very well. RAMONA Then it's not a lie. It's a job. Quit agonizing -- take the money, do what you gotta do, and get it over with. STUMP I can't. RAMONA Then quit. STUMP No! RAMONA For godsakes why not? Stump has to think about this for a while. STUMP He knows greatness. I'm in the presence of greatness. I want to learn about greatness. She looks at him like he's crazy. RAMONA Greatness is overrated. STUMP Maybe you're right, maybe you're right... RAMONA So what do you want? Stump drinks deeply -- his heart needs alcoholic reinforcement. (CONTINUED) 78. 85 CONTINUED: (4) 85 STUMP I want to be in someone's arms tonight. RAMONA Oh that. Why do men have such a hard time saying what they want? CUT TO: 86 INT. STUMP'S HOTEL ROOM - NIGHT 86 Stump and Ramona stagger in drunkenly -- they are awkward and passionate. She grabs his vodka and takes a swig from the bottle. STUMP Wait, wait... don't drink too much. RAMONA Ya think I won't be able to screw if I'm too drunk? STUMP Well... yeah... RAMONA Screwed, stewed, and tattooed! She laughs a hearty laugh, letting it all out. STUMP C'mere... I want to hold you. RAMONA You're so thoughtful -- the others are trying to get me drunk and you're trying | papa | How many times the word 'papa' appears in the text? | 3 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | fourteen | How many times the word 'fourteen' appears in the text? | 2 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | belongs | How many times the word 'belongs' appears in the text? | 1 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | serious | How many times the word 'serious' appears in the text? | 1 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | explores | How many times the word 'explores' appears in the text? | 0 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | tried | How many times the word 'tried' appears in the text? | 2 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | who | How many times the word 'who' appears in the text? | 3 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | country | How many times the word 'country' appears in the text? | 0 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | or | How many times the word 'or' appears in the text? | 3 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | house-- | How many times the word 'house--' appears in the text? | 1 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | hinges | How many times the word 'hinges' appears in the text? | 0 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | when | How many times the word 'when' appears in the text? | 2 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | day | How many times the word 'day' appears in the text? | 3 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | supposed | How many times the word 'supposed' appears in the text? | 1 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | cause | How many times the word 'cause' appears in the text? | 0 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | inexpressible | How many times the word 'inexpressible' appears in the text? | 0 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | years | How many times the word 'years' appears in the text? | 1 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | functional | How many times the word 'functional' appears in the text? | 0 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | started | How many times the word 'started' appears in the text? | 1 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | double | How many times the word 'double' appears in the text? | 2 |
(OVER BULLHORN) Break it up or you'll be arrested! PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM. CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL. COPS GRAB PAT. PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT. PAT YELLS. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY SITS ALONE ON THE FLOOR, WAITING. TIFFANY GRABS HER COAT AND EXITS. INT. SOLATANO HOUSE/LIVING ROOM- DAY PAT SR. STEPS IN. PAT SR. What'd you do? PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM. 121. PAT SR. (CONT'D) What happened? PAT DAD-- PAT SR. (INTERRUPTING) What the fuck happened? PAT Dad. PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM. PAT SR. The birds lose, I lose a fuckin' fortune, a fortune to Randy! What the fuck did you do?! You fucking lost it! I thought you said you had it together! You were solid! PAT I am solid. I was solid at the game, Dad. I'm solid, I'm solid now. PAT SR. You fell apart! What are you fucking talking about?! DR. PATEL Your son was trying to-- PAT SR. It's all fucking ruined now. It's all ruined. PAT No, Dad! PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM. PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF. PAT SR. (YELLING) It's all fucking ruined now! It's all fucking ruined! PAT No, Dad, Dad, Dad, don't! PAT SR. (YELLING) It's all ruined, you little fucking shit! 122. PAT No, Dad! I didn't do a fucking thing! Come on, Dad! PAT SR. (YELLING) You loser! You loser! PAT SR. SHOVES PAT. PAT (EMOTIONAL) I'm not a loser. PAT SR. You fucking loser! You ruined everything! DR. PATEL He was defending his brother! PAT CRIES PAT SR. You fucking idiot! You spike the ball on the one yard line, you fucking idiot! THE DOORBELL RINGS. DOLORES LOOKS AT THE FRONT DOOR. THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM. PAT SR. (CONT'D) Who is this?! Who's this?! TIFFANY WALKS TO PAT. TIFFANY We need to talk right now! When you make a serious commitment to somebody, it is not cool to not show up! PAT Wait a second, I tried to call, my God, what's happening, I called--, but I tried to call you, Tiffany, I-- PAT SR. Who is this? What is this? TIFFANY Oh, really? 123. PAT Yes. PAT (CONT'D) I told you I was gonna split my time with my dad and you, and my dad was pulling me in one direction. Doctor Patel, Ronnie-- TIFFANY Well, that sounds great, Pat. That's great for all of them, but all of them didn't make a commitment to me in return for my help. I'm Tiffany, by the way. PAT SR. What is this craziness with Tiffany Maxwell? PAT There's no craziness. I told you who she was, I was doing this thing with her. We had a conversation! PAT SR. She's fucking nuts! When you started spending time with her, it all fell apart. This is the fucking reason right here. TIFFANY You think I fucked up the Eagles' juju, don't you? PAT SR. Ever since, ever since he was with you, ever since-- TIFFANY (INTERRUPTING) You think that I'm why today's happened? PAT SR. That's right, you are why today happened. TIFFANY I'm the reason why today happened? PAT SR. I think so. TIFFANY Let's talk about that. 124. PAT SR. Be my guest. TIFFANY The first night that Pat and I met at my sister's, the Eagles beat the Forty Niners handily, forty to twenty-six. The second time we got together we went for a run and the Phillies beat the Dodgers seven to five in the NLCS. JAKE She's right, Dad. TIFFANY The next time we went for a run the Eagles beat the Falcons, twenty- seven to fourteen. PAT Wow. TIFFANY The third time we got together we had Raisin Bran in the diner and the Phillies dominated Tampa Bay in the fourth game of the World Series, ten to two. PAT Oh, wow. PAT SR. Let me think about that. Wait a minute. TIFFANY Well, why don't you think about when the Eagles beat the Seahawks, fourteen to seven. PAT SR. He was with you? TIFFANY He was with me. We went for a run. RONNIE Really? That's crazy. 125. TIFFANY There have been no games since Pat and I have been rehearsing every day and if Pat had been with me like he was supposed to, he wouldn't have gotten in a fight, he wouldn't be in trouble, maybe the Eagles beat the New York Giants. JAKE She's making a lot of sense, Pop. That's all right on all counts. TIFFANY Does anybody here happen to know what the official motto of the state of New York is on the official seal of the State of New York? Huh? Anybody? (to Pat Sr.) Do you? Do you know? "Excelsior." Look it up. Yeah, "Excelsior." DOLORES Oh Pat. TIFFANY Not that I give a fuck about football or about your superstitions, but if it's me reading the signs, I don't send the Eagles guy whose personal motto is "Excelsior," to a fucking Giants game, especially when he's already in a legal situation. RONNIE Unbelievable. PAT Wow. How did you know all that stuff? TIFFANY I did my research. SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS. PAT SR. Well, I gotta say, I'm impressed. TIFFANY Thank you. PAT SR. I gotta rethink this whole thing. I didn't trust it before, but I gotta say, now I do. 126. PAT Oh, now you like her, Dad? PAT SR. I have to say I do. Yup. RANDY Patrizio, I feel terrible, you know? You made the bet, I won a lot of money, and now look, your whole family is in turmoil. TIFFANY Oh, fuck off, Randy. You love it. You live for this shit. You've been betting against my father for years. PAT Is that right? TIFFANY You're twisting the knife right now. You get off on it! RANDY That's bullshit! That's not true! Don't say that! TIFFANY You get off on it! If not, then prove it. Prove it. PAT SR. Yeah, prove it, prove it! RANDY How do you want me to prove it? PAT SR. How's he gonna prove it? TIFFANY By giving them the chance to win back everything, double or nothing. PAT No, no, no, no, no, no, no. RANDY Double or nothing on the Bengals, next week? Is that what you're saying? TIFFANY No. 127. She pauses, turns dramatically to Randy. TIFFANY (CONT'D) Against the Cowboys. EVERYONE GASPS. TIFFANY (CONT'D) That's your team isn't it, Randy? PAT That's his team! TIFFANY I know who his team is. RANDY When is the game? TIFFANY December twenty-eight, last game of the season. PAT Oh, my God. TIFFANY Same day as the Benjamin Franklin Pairs Open Freestyle Dance Competition. DOLORES Oh God. PAT SR. Randy, I thought they were America's Team. Don't you believe in America's Team? TIFFANY Yeah, Randy, don't you believe in America's Team? RANDY Yeah, I believe in America's Team but if I win that bet, I win your book, you're out of action, you get no restaurant, no nothing. PAT SR. I like it. DOLORES No. No, Patrizio-- 128. PAT SR. I believe in the Eagles, I believe in my son, I'll take the action. I'll take it. PAT Dad! DOLORES Patrizio, don't! It's toxic! PAT SR. I have faith, I have faith. Excelsior belongs in this house-- PAT DAD-- PAT SR. --not in the State of New York. In this house. PAT Dad, listen to me. I didn't know that "Excelsior" was the state motto of New York, okay? PAT SR. I didn't know, either, but now I know. PAT I know, but listen to me, this is toxic. Dad, Dad, Dad, this is toxic, you shouldn't be doing this, you shouldn't be doing-- PAT SR. Randy, what do you say-- (to Pat) Be quiet, shut up. You already did enough. (to Randy) Randy, what do you say? My birds, Benjamin Franklin's team favored by one and a half points. I'll give you three more. DOLORES Patrizio, stop it! And Randy, don't you take the bet! PAT SR. In fact, I'll give you ten points. PAT No, Dad! Dad! 129. JAKE Dad! PAT SR. You have to take that bet on the Cowboys. RANDY Dolores, would you stop him? JAKE Jesus! PAT SR. How could you not take that bet? Even with the ten points I give you, that's an insane spread to your advantage. Cowboys are cowards. And I'll bet you're such a coward, you won't take the ten. Plus, are you listening, plus whatever their score is at the dance thing. (to Tiffany) What's that? Tiffany, what's that? PAT What? No, no, no, no. RANDY You're crazy to give away that many points. That's ridiculous! I won't take that! However, wait a second. I do like the idea of a parlay. DOLORES What? No parlay! No! PAT No, don't do it. Don't do it. RANDY Pat, how do they run this dance competition? I mean, how do they score it and everything? PAT I don't know, I don't know how they fucking score! We're participating. We're not, we're not a part of it. There are people, this is a high- end dance contest. I don't know. Do not put it as part of the parlay, Randy. Don't-- 130. TIFFANY They go by the Philadelphia rules. Each dancer is scored on a scale of one to ten, ten being the highest. You have to average the four judges' scores. RANDY Okay, score is from one to ten, right? And you guys are how good? PAT We suck. TIFFANY We don't suck. Pat's a beginner, I'm okay, we're happy just to be going there. RANDY And how are the people you're competing against? TIFFANY They're good. Some of them are professionals. RANDY They're good? Better than you? Pause. Tiffany says nothing. PAT A lot better. RANDY A lot better. So if I was to say you only have to score five, I would be really very generous, right? PAT No, no, that would be amazing if we got five. Let's not get away-- TIFFANY Oh, come on, we can get a five out of ten! Gimme a break! Gimme me a break! PAT We can't get five! PAT SR. Give `em a five. Give `em a five. 131. TIFFANY We can do a five. PAT What are you talking about, Dad? You haven't even seen us dance! RANDY That's the parlay. DR. PATEL Will somebody please explain to me the parlay? Please? RONNIE You gotta win two bets or you lose the whole thing. For Pat Sr. to win, the birds gotta beat the Cowboys plus Pat and Tiffany gotta get at least a five at the dance. DR. PATEL That's very, very manic indeed. RONNIE That's the parlay. RANDY Shake on it. PAT You know what? I'm not gonna be a part of this. (to Randy) Randy, Randy, you're a sickness. You're a fucking sickness, Randy. I'm out. TIFFANY Pat, you can't quit. PAT I'm not doing the dance. I'm out. TIFFANY Pat, calm down. Thank about it. PAT See you later. TIFFANY Pat, no. PAT SR. What are you doing? TIFFANY Pat. 132. PAT (WALKING OUT) I'm out. PAT SR. (FOLLOWS HIM) Here we are again at the one yard line. DeSean, snatching defeat from the jaws of victory. There you go. PAT What does that even mean, Dad? I'm not gonna make that, that, that connection that you're making with DeSean Jackson. It doesn't matter anymore okay? Just because I have the fucking jersey on...I'm not gonna do it. I'm sorry. TIFFANY You are not a stand up guy right now. If it's me reading the signs...if it's me reading the SIGNS-- PAT If it's you reading the signs? You're reading the signs? Oh, okay. PAT STEPS THROUGH THE DOORWAY DOLORES Pat! TIFFANY You are not a stand up guy! DOLORES Pat! PAT SIGHS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING TIFFANY AND PAT SR. PAT SR. GRUMBLES. DOLORES I told you not to push it. PAT SR. Yeah, but he's gotta do this thing. He can't be a quitter. He cannot be a quitter. 133. DOLORES (SIGHS) You took that stupid parlay thing, and now he won't do the dance and it was very constructive for him, and you ruined it. TIFFANY There's only one way to get him to show. PAT SR. What's that? DOLORES Oh, what's that? TIFFANY We have to tell him Nikki's gonna be there. They stare at her. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS THE LETTER OUT OF HIS POCKET. PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO HIS FACE. CU - THE END OF THE LETTER. CU - THE BEGINNING OF THE LETTER. PAT AS HE READS. INT. SOLATANO HOUSE/KITCHEN - EVENING DOLORES She won't come. She can't come. TIFFANY We have to tell him that she's coming. PAT SR. We have to tell him that she's going. DOLORES But that's a lie! TIFFANY It's a white lie. 134. PAT SR. It's a white lie, what's that matter? That's no big deal. So it's a little lie. TIFFANY There's no other way. PAT SR. You know, we gotta leave a trail of bread crumbs so that he can live his life without ruining it. DOLORES No. I don't approve. You can't do it. PAT SR. Well, you know, I didn't approve when you called her and you told her where he was running, so she could ambush him. I didn't approve of that, but you did it anyway, so I'm doing this anyway. That's it. TIFFANY We're gonna tell him Nikki'll be there. PAT SR. (TO DOLORES) You gotta be part of it. TIFFANY We have to do it. DOLORES Aren't you nervous to be lying? TIFFANY Yeah. A little bit. But it's for the best. EXT. SOLATANO HOUSE/FRONT PORCH - EVENING PAT AS HE READS THE LETTER. PAT (READING) "...but if it was me reading the signs...." PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the letter, not Nikki. 135. STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS. STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't believe Tiffany lied to him. Emotions course through him. MUSIC SCORE PLAYS -- INT. SOLATANO HOUSE/KITCHEN - EVENING PAT SR. That's it. DOLORES Okay. DISSOLVE TO: EXT. STREET - EVENING PAT RUNS THROUGH THE RAIN. INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY TIFFANY, SITTING ON THE FLOOR AND STRETCHING. TIFFANY Hey. PAT ENTERS, SITS DOWN NEXT TO HER. PAT Hey, what's up? Sorry I'm late. TIFFANY It's fine. TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER. HE WATCHES HER CAREFULLY, stares at her. Thinking. EXT. SOLATANO HOUSE - EVENING CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS LIGHTS AND NATIVITY FIGURES ON THE LAWN. FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS" PLAYS. INT. SOLATANO HOUSE/LIVING ROOM - EVENING SEVERAL HANDS LIFT DRINKS FROM A TRAY. 136. TIFFANY'S MOTHER Is everything all right? PAT SR. Everything is fine. Cheers. PAT SR. HOLDS UP HIS GLASS. GROUP CHEERS. INT. SOLATANO HOUSE/ATTIC - EVENING PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE. SHE FUMBLES. She is agitated as he studies her. TIFFANY This isn't working! TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES. TIFFANY (CONT'D) Stupid! TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED. TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK. PAT WATCHES HER. TIFFANY STRUGGLES TO TIE THE TIE. SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE. TIFFANY (CONT'D) This just isn't working! SHE WALKS WITH THE TIE. PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO THE BOX OF TIES. PAT PULLS ON HIS JACKET. PAT LIFTS AN ENVELOPE FROM A TABLE. PAT Come on, it's gonna be great. Nikki's gonna be there. You know? Everything's gonna come together. It's what's meant to be. You okay? SHE NODS. PAT (CONT'D) Don't get wobbly on me. 137. TIFFANY I'm not. PAT We have a dance to do. We have a parlay. You gotta stay focused. TIFFANY I'm focused. PAT Okay, let's go. EXT. HOTEL - EVENING CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND PARKS AT THE CURB. INT. HOTEL/LOBBY - EVENING PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES FOLLOW. PAT Look at the dancers. You see them? TIFFANY Shit. PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE ARE IN BG. PAT SR. Hey, Randy, Jake. What do we got? JAKE Dallas just tied with another field goal, three-three. I'm worried about the bet. PAT SR. Don't worry about the bet. JAKE I'm worried about the bet. PAT SR. Holy shit. PAST PAT SR. TO THE DANCERS AS THEY REHEARSE. PAT SR. (CONT'D) Is this "Dancing with the Stars"? 138. DOLORES Well, you knew that. Maybe you should've scouted `em. RANDY (LAUGHING) Look at those fucking dancers! You can give me the money now, you know? PAT SR. (TO PAT) Patty, Patty, all we have to do is we have to make a five. That's all. You stay here and watch the game with me. TIFFANY The birds are better when Pat is with me. We settled that. PAT SR. Stay for the next quarter. PAT Relax, we're gonna do fine, okay? I'll see you in a little bit. I'll see you up there, okay? PAT SR. Okay. DANNY ENTERS WITH HIS GIRLFRIEND, TANYA. DANNY Hey, Pat, Tiffany! PAT Hey. DANNY What a glorious, beautiful occasion, man. PAT Yeah, yeah. All right, buddy, I'll see you. Alright. Wish me luck, man. DR. PATEL Excelsior! Pat and Tiffany walk to sign in. PAT (Notices he and Tiffany are holding hands) Wait, what's this? 139. THEY ARE HOLDING HANDS. TIFFANY What? I thought you were doing it. PAT Oh, I thought you were doing it. We're doing a dance thing anyway, for God's sake. CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS THEY WALK. PAT (CONT'D) You okay? INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY AND PAT WALK TOGETHER. TIFFANY I want you to remember everything. I want you to remember all of the good stuff that we have here. PAT Of course I do. TIFFANY Just check in. I gotta go find Veronica. PAT STEPS TO THE REGISTRATION TABLE. PAT Hi, good evening. MALE OFFICIAL Evening. PAT Check in? How many dancers are there? TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO. TIFFANY (TO HERSELF) What?! Nikki? Nikki. Oh, Jesus. She seems devastated by Nikki actually being there for Pat. 140. INT. HOTEL/LOBBY - EVENING TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY. TIFFANY (TEARFULLY) What the fuck? VERONICA Sweetie, sweetie. Honey, calm down. TIFFANY You're killing me. You're killing me! VERONICA Tiffany, please. She'll see how well he's doing, maybe she'll lift the restraining order. TIFFANY Oh, my God. Oh, my God. RONNIE Pat told me. He told me you should never throw a marriage out the window. TIFFANY (TEARFULLY) Pat did not say that. He didn't say that. RONNIE He said it several times, Tiffany, and this is his chance. You gotta give him a chance. TIFFANY BREATHES HEAVILY. TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS. SPECTATORS APPLAUD. SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER. TIFFANY Bartender! Bartender, can I get a vodka, please? SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND. SPECTATORS APPLAUD. TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY, WATCHING HER DRINK. HE IS THE GUY AT BAR. 141. GUY AT BAR So, you want another one? TIFFANY Sure. THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK TO INCLUDE PAT, WALKING. PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA PANS WITH HIM. PAT STOPS, LOOKING. RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S. DANCERS. SPECTATORS APPLAUD. CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND VERONICA. THE GUY AT BAR WITH TIFFANY. TIFFANY (CONT'D) So what do you do? GUY AT BAR I'm a lawyer. Litigator, actually. TIFFANY Oh, the arguing kind. EMCEE (O.S.) And the scores for Santos and Aguilar are: seven point six, seven point three, seven point four, and six point nine for an average score of seven point three. CAMERA PANS ONTO THE DANCERS. INT. HOTEL/LOBBY - EVENING CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S. TELEVISION SHOWING THE FOOTBALL GAME. CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING DANNY, PAT SR. AND JAKE. SPORTS ANNOUNCER (OVER TELEVISION) Three, two, one! Philadelphia beats Dallas! They are on their way to the playoffs. 142. GROUP CHEERS. DANNY Randy, what the fuck is happening, man?! PAT SR. Yeah, Randy, what the fuck is happening?! INT. HOTEL/BALLROOM - EVENING A COUPLE AS THEY DANCE. PAT WALKS, LOOKING AROUND. PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES SITS. DOLORES (WHISPERING) Where's Tiffany? PAT I don't know, Mom. Have you seen her? DOLORES You gotta find her. PAT I know, Mom, I know. PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM. THE SONG PLAYS. PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL TALKING TO GUY AT BAR. PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR. PAT (CONT'D) Hey, WHAT are you doing? GUY AT BAR She's fine, buddy, she's with me. PAT She's fine? GUY AT BAR Yeah. PAT Why don't you shut up, okay? 143. PAT TURNS TO TIFFANY. PAT (CONT'D) How many drinks have you had? TIFFANY I've had two vodkas. PAT Listen, I don't know what choices you've made, but you gotta deal with it right now, okay? We're in this. TIFFANY We're in what? SPECTATORS APPLAUD EMCEE Next, Pat Solatano and Tiffany Maxwell. TIFFANY You know, I used to think that you were the best thing that ever happened to me, but now I think that you might maybe be the worst thing and I'm sorry that I ever met you. PAT Good for you. He pulls her out of her chair to go to the stage. TIFFANY AND PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM. EMCEE And the scores for Makarov and Tretiak are: six point seven, eight point one, seven point five and six point five for an average score of seven point two. CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS. INT. HOTEL/UPSTAIRS HALLWAY - EVENING PAT SR., JAKE, DANNY AND RANDY RUN. SPECTATORS APPLAUDS. THEY RUN L. INTO THE BALLROOM. INT. HOTEL/BALLROOM - EVENING 144. RONNIE They were great and they only got a seven point two. This is a tough room. PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES HIM OFF. TIFFANY Got it. EMCEE Up next, ladies and gentlemen please welcome Pat Solatano, Jr. and Tiffany Maxwell. CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE. SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR. PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM. DANNY Damn. JAKE Let's go, Patty! DANNY Come on, Pat! PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS. PAT AND TIFFANY DANCE, as Danny taught them. PAT SR. WATCHES with Danny. TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. PAT CRAWLS TOWARD TIFFANY. RONNIE, NIKKI AND VERONICA WATCH. TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT LEAP UP. WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT AND TIFFANY DANCE INTENSELY TO THIS SONG. DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with Ronnie and Veronica. Pat Sr. watches. The Judges watch. DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS. 145. Pat and Tiffany WALTZ as they waltzed in their rehearsals. Everyone watches. They come to the big move -- Tiffany inhales nervously, braces herself to run across floor to leap into Pat's arms. Pat braces himself to catch her: SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch awkwardly wedged on his neck and head. SPECTATORS GASP. TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER. PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD. PAT SR. WINCES; DOLORES WATCHES, TEARY. THE JUDGES MAKE NOTES. TIFFANY AND PAT AS THEY DANCE. DOLORES WATCHES, TEARY. CAMERA PULLS BACK. PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK. TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE. THE MUSIC ENDS. SPECTATORS APPLAUD. THEY STEP TOWARD THE EDGE OF THE STAGE. RONNIE (YELLING) Yeah, Pat! Yeah! JAKE (YELLING) We love you, Pat! CAMERA ONTO THE JUDGES. EMCEE Alright, let's see the scores for Solatano and Maxwell. THE JUDGES HOLD UP THEIR SCOREBOARDS. EMCEE (CONT'D) We have a four point nine, four eight, a four nine... FEMALE DANCER That's really too bad, guys. That's a lot of fours. 146. EMCEE ...and and a five point four for an average score of..five point zero. DOLORES PUTS A HAND TO HER MOUTH. MALE DANCER Sorry about that, guys. PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM. DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER. RANDY (PISSED) What?! Come on! Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and his father embrace. PAT Dad, Dad, did the Eagles win? PAT SR. The Eagles won, forty-four-six! They won, forty- four-six! RANDY Come on! THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE CELEBRATION. EMCEE (PUZZLED) Why are they so excited about a five? SPECTATORS LAUGH EMCEE (CONT'D) We'll take a ten minute break. PAT EMBRACES DR. PATEL AND DANNY. TIFFANY EMBRACES HER MOTHER AND VERONICA. PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE. PAT AND RONNIE LAUGH PAT EMBRACES TIFFANY. TIFFANY Thank you! You're amazing! PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI. 147. PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS. TIFFANY WATCHES from across the ballroom, emotional as Pat and Nikki talk. At last. PAT (QUIETLY) Thank you for coming. NIKKI Of course. PAT How are you? You okay? NIKKI Good. How are you? PAT I'm really good. Yeah, thanks. NIKKI You looked really happy out there. PAT Did I? NIKKI Yeah. PAT Yeah, who'd have thought, dancing? Tiffany reacts from afar, stung. NIKKI You look incredible. PAT Thank you. NIKKI You lost a lot of weight. PAT I've been reading your books and, I have a positive attitude. I'm on medication, I'm in therapy. PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY. TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS AWAY. 148. INT. HOTEL/UPSTAIRS HALLWAY - EVENING TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE RUNS ACROSS THE LOBBY. EXT. HOTEL - EVENING TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS, PUTTING ON HER OTHER SHOE, THEN WALKS. INT. HOTEL/BALLROOM - EVENING PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER. HE TURNS AND WALKS. PAT SR. PUSHING PAST RONNIE TO PAT. PAT Where's Tiffany? PAT SR. She left. PAT What do you mean, she left? PAT SR. She left. What do you think! PAT Where is she? PAT SR. Let me tell you, I know you don't wanna listen to your father, I didn't listen to mine but I'm telling you, you gotta pay attention to the signs. When life reaches out with a moment like this, it's a sin if you don't reach back. I'm telling you, it's a sin if you don't reach back, and it'll haunt you for the rest of your days like a curse. You're facing a big challenge in your life right now, at this very moment, right here. That girl loves you, she really loves you. And I don't know if Nikki ever did, but she sure as hell doesn't love you right now. I'm telling you, don't fuck this up. PAT EMBRACES PAT SR. 149. PAT I love you, Dad. PAT KISSES HIM ON THE CHEEK AND RUNS OUT. EXT. SIDEWALK - EVENING TIFFANY WALKS DOWN THE STREET, ALONE. PAT (YELLING) Hey! TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS AFTER HER. They turn a corner. He is chasing her, a reverse of their previous runs together. HE GRABS HER ARM AND SHE STOPS, TURNING. TIFFANY (UPSET) Would you just leave me alone?! PAT Wait a second! HE PULLS A LETTER OUT. PAT (CONT'D) I have one more letter for you to read, okay? TIFFANY (YELLING) What the fuck is the matter with you? Give it to her yourself! PAT Let me say something. You don't ever have to see me again if you just read it, alright? TIFFANY This is so fucked up. PAT Yeah, just read it. TIFFANY UNFOLDS THE LETTER. TIFFANY (READING) "Dear Tiffany... SHE STOPS, surprised it is addressed to her. 150. TIFFANY (CONT'D) (READING) "...I know you wrote the letter. (long pause) The only way you could meet my crazy...." PAT (RECITING) "...was by doing something crazy yourself. Thank you. I love you. I knew it the minute I met you. I'm sorry it took so long for me to catch up. I just got stuck. Pat." I wrote that a week | trouble | How many times the word 'trouble' appears in the text? | 1 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | walked | How many times the word 'walked' appears in the text? | 0 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | convince | How many times the word 'convince' appears in the text? | 1 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | new | How many times the word 'new' appears in the text? | 3 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | settles | How many times the word 'settles' appears in the text? | 0 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | panic | How many times the word 'panic' appears in the text? | 2 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | radio | How many times the word 'radio' appears in the text? | 1 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | dissolve | How many times the word 'dissolve' appears in the text? | 3 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | around | How many times the word 'around' appears in the text? | 3 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | remembers | How many times the word 'remembers' appears in the text? | 1 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | argue | How many times the word 'argue' appears in the text? | 1 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | usual | How many times the word 'usual' appears in the text? | 1 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | customer | How many times the word 'customer' appears in the text? | 3 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | shake | How many times the word 'shake' appears in the text? | 1 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | theory | How many times the word 'theory' appears in the text? | 0 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | further | How many times the word 'further' appears in the text? | 1 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | spies | How many times the word 'spies' appears in the text? | 0 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | how | How many times the word 'how' appears in the text? | 3 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | finishes | How many times the word 'finishes' appears in the text? | 0 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | somebody | How many times the word 'somebody' appears in the text? | 2 |
(cheerfully) There's an old saying, "First customer of the day is always the most trouble!" But like I said, I'm in no mood for it so I'm just going to treat you so fair and square you won't have one human reason to give me... MARY (interrupting) Can I trade in my car and take another? CAR DEALER You can do anything you've a mind to... and bein' a woman, you will! (chin-indicating her car) That yours? MARY Yes, it's... nothing wrong with it, I'm just... CAR DEALER Sick of the sight of it! (laughs) Well, suppose you look around for something that strikes your eyes and meanwhile I'll have my mechanic give yours the once over and... want some coffee? I was just about... MARY No. Thank you. I'm in... a hurry. I just want to make a change and start... She stops suddenly, almost with a gasp. She has seen the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He is staring over at her, his face dispassionate. EXT. USED CAR LOT - (DAY) Mary has to force herself to look away. CAR DEALER One thing people never ought to be when they're buying a used car is in a hurry! (starting away toward her car) But like I said, too nice a day for arguing. I'll just shoot this into the garage. He starts into Mary's car. She looks at him, in near panic, wanting to skip the whole thing. Torn, wondering if the presence of the Patrolman doesn't negate the value of changing cars, wondering how she can get away, wondering if she'll be followed, or if the Patrolman will go away if she does stay here. All these panic-fears rush her mind and she can do nothing. The Car Dealer has driven her car into the garage. She stands in the middle of the lot, feeling like a shooting target. She looks toward the garage. THE GARAGE - MARY'S POV - (DAY) Mary's car is in it. EXT. USED CAR LOT - (DAY) Mary decides she cannot back out now without arousing further suspicion, is compelled to look again at the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still watches. With a self-angry sigh of resignment, she goes to a close car, looks at it. The Car Dealer is returning. CAR DEALER That's the one I'd've picked for you myself! MARY How much? CAR DEALER Go ahead! Spin it around the block. Now I know you don't know anything about engine condition, but you can feel, can't you... and it's all in the feel, believe me, you feel that one around the block... MARY It looks fine. How much will it be, with my car...? CAR DEALER You mean you don't want the usual day and a half to think it over? (laughs) You are in a hurry! Somebody chasin' you? MARY Of course not. Please. CAR DEALER Well... heck, this is the first time I ever saw the customer high-pressure the salesman! (laughs, sees she is in no mood for it) I'd figure roughly... (looks at the car, then back at the garage) ...your car plus five hundred. MARY Five hundred. CAR DEALER Aha! Always got time to argue money, huh...? MARY All right. As the car dealer looks at her in amazement, she reaches into her bag, feels the money-filled envelope, pauses. CAR DEALER (slowly) I take it... you can prove that car's yours... I mean, out of state and all... got your pink slip and your... MARY I think I have the necessary papers. Is there a Ladies Room... CAR DEALER In the building ... (indicates, continues to stare quietly) Mary starts for the building, glancing once in the direction of the Patrolman. THE PATROLMAN - MARY'S POV - (DAY) He still sits, his motor throbbing, his face quiet. EXT. THE USED CAR LOT - (DAY) Mary goes into the office building. CUT TO: INT. LADIES ROOM - (DAY) Mary enters, locks door, takes envelope out of her handbag, extracts one bundle of bills from the envelope, counts off five, puts the bundle back into the envelope and the envelope back into the bag. Then she remembers, takes out the important papers envelope, goes through it, finds several papers having to do with her car, takes them all out, puts back the envelope, starts out of the ladies Room. CUT TO: EXT. THE USED CAR LOT - (DAY) The Car Dealer has moved the car of her choice out of the line. It stands in the clearing. CAR DEALER (too cheerfully) I think you'd better give it a trial spin. Don't want any bad word of mouth about California Charlie. MARY I'd really rather not. Please. Can't we just settle this and... CAR DEALER I'll be perfectly honest with you, Ma'am. It's not that I don't trust you, but... MARY (interrupting) But what? Is there anything so terribly wrong about... making a decision and wanting to hurry? Do you think I've stolen... my car? CAR DEALER No, M'am. I was only about to say, I've sent my mechanic out to give your car a little test... that's all. MARY (handing him the ownership papers and the new bills) I'd like to be ready when he gets back. CAR DEALER Okay. If you'll come along... He starts toward the office building. Mary follows, closely, anxiously. She glances, sees: THE PATROLMAN - MARY'S POV - (DAY) He is still at the far curb. EXT. USED CAR LOT - (DAY) The Car Dealer goes into his office. Mary follows. THE PATROLMAN - (DAY) A second later, he starts his automobile, checks traffic, comes across the street, slowly, and drives onto the lot. He pauses a moment, then drives across the lot, passing the office, going on to the other exit, stops there as Mary's car is driven back onto the lot. The MECHANIC stops Mary's car, hops out, waves to the Patrolman. The Patrolman waves back, goes on a bit until he is behind Mary's car, stops again, looks over at the office. In a moment, Mary comes out, hurries across to her new car, gets in, starts the motor. The Mechanic yells: MECHANIC Hey! Miss? Mary pauses, turns, sees the Patrolman, then the Mechanic. Her face goes white. She doesn't know which man called her. Then the Mechanic waves, starts forward with her suitcase. MARY (as Mechanic reaches car) Just put it right in here, please... beside me. The Mechanic smiles, throws the suitcase in. Mary zooms off. As she drives out of lot we see the Mechanic, the Car Dealer and the Patrolman all looking after her. DISSOLVE TO: MARY IN NEW CAR ON ROUTE Mary is driving tensely. She checks the rear-view mirror, is more shocked than pleased when she sees... MARY'S REAR-VIEW MIRROR No sign of the Patrolman. MARY IN NEW CAR ON ROUTE She turns her face, looks out at the highway. ROUTE 99 - MARY'S POV It is heavy with traffic. MARY IN NEW CAR ON ROUTE Again she checks the mirror and although... MARY'S REAR-VIEW MIRROR There is still no sign of the Patrolman. MARY IN NEW CAR ON ROUTE She cannot relax or feel safe, cannot convince herself that nothing will come of the man's watching and suspicions. CAMERA IS CLOSE on Mary's face now, recording her anxiety, her fears. Her guilt shines bright in her eyes and she is a person unaccustomed to containing this much guilt in this realistic a situation. Suddenly, we hear the SOUND of the Used Car Dealer's laugh, hear it as clearly as Mary hears it in her imagination. The "imagined voice" we hear is actually the voice of the Car Dealer: CAR DEALER'S VOICE Heck, Officer, that was the first time I ever saw the Customer high- pressure the Salesman! Somebody chasing her? PATROLMAN'S VOICE I better have a look at those papers, Charlie. CAR DEALER'S VOICE She look like a wrong-one to you? PATROLMAN'S VOICE Acted like one. Mary blinks, shakes her head, as if trying to shake away these voices of her imagination. She checks the rear-view mirror. MARY'S REAR-VIEW MIRROR Still no sight of the Patrolman. MARY IN NEW CAR She tries to force herself to relax, almost succeeds when she is sprung to tension again by.... EXT. HIGHWAY The sight of a police car. As she drives past, we hear the squeaky, unintelligible voice coming over the car radio. Mary zooms down on the gas, whizzes ahead. DISSOLVE THROUGH TO: EXT. HIGHWAY 99 - LONG SHOT Mary's car dashing along. DISSOLVE TO: MARY IN NEW CAR Mary looks weary, tired with strain and with hard driving. Her eyes are heavy with worry and deep thought. OUT THE WINDSHIELD We can see that it is much later in the day, almost dusk. MARY IN NEW CAR We HEAR the sound of an agitated BUZZ of an intercom system, a sound emanating from Mary's imagination. After the second BUZZ, we HEAR the voice of Caroline. CAROLINE'S VOICE Yes, Mr. Lowery. LOWERY'S VOICE (a worried tone) Caroline...? Mary still isn't in? CAROLINE'S VOICE No, Mr. Lowery... but then she's always a bit late on Monday mornings. LOWERY'S VOICE Buzz me the minute she comes in. Again Mary shakes her head, forces herself to stop hearing these "invented" scenes of her imagination. EXT. HIGHWAY Now we cut to the view of the road, from Mary's viewpoint. Darkness of evening is coming. In the dim twilight we see the neon sign of roadside restaurants and gas stations beginning to blaze on. INT. MARY'S NEW CAR Back on Mary's face, and after a moment, the imagined voices again: LOWERY'S VOICE Call her sister! If no one's answering at the house.... CAROLINE'S VOICE I called her sister, Mr. Lowery, where she works, the Music Makers Music Store, you know? And she doesn't know where Mary is any more than we do. LOWERY'S VOICE You better run out to the house. She may be... unable to answer the phone... CAROLINE'S VOICE Her sister's going to do that. She's as worried as we are. A flush of painful guilt and regret rises up in Mary's face. She closes her eyes for one tight swift moment. EXT. HIGHWAY We cut again to the highway. The first oncoming headlights slash at the windshield. INT. MARY'S NEW CAR Cutting back to Mary, we can sense by the tense muscles of her face that she is driving faster. The oncoming headlights blurt at her. Suddenly we HEAR Lowery's voice, loud now and frightened, as if the anxiety in the man's voice was strong enough to break through Mary's effort to keep her mind silent and her imagination blank. LOWERY'S VOICE No! I haven't the faintest idea. As I said, I last saw your sister when she left this office on Friday... she said she didn't feel well and wanted to leave early and I said she could. And that was the last I saw... (a pause, a thought) ...wait a minute, I did see her, an hour or so later, driving... (a pause, then with solemn fear) Ah, I think you'd better come over here to my office. Quick. (a pause, a click) Caroline, get Mr. Cassidy for me. EXT. HIGHWAY It is completely dark now, night. INT. MARY'S NEW CAR We cut back to her face. LOWERY'S VOICE After all, Cassidy, I told you... all that cash... I'm not taking the responsibility... Oh, for heaven's sake, a girl works for you for ten years, you trust her! All right, yes, you better come over. FROM MARY'S VIEWPOINT EXT. THE ROAD AHEAD INT. MARY'S NEW CAR Fast cut back to Mary's face. Oncoming headlights throw a blinding light across her features. CASSIDY'S VOICE (undrunk, sharp with rage) Well I ain't about to kiss off forty thousand dollars! I'll get it back and if any of it's missin' I'll replace it with her fine soft flesh! I'll track her, never you doubt it! LOWERY'S VOICE Hold on, Cassidy... I still can't believe... it must be some kind of a mystery... I can't... CASSIDY'S VOICE You checked with the bank, no? They never laid eyes on her, no? You still trustin'? Hot creepers, she sat there while I dumped it out... hardly even looked at it, plannin' and... and even flirtin' with me...! A look of revulsion makes Mary close her eyes. THROUGH THE WINDSHIELD AGAIN Big drops of rain begin to appear. CLOSEUP - MARY She is becoming aware of the rain starting. THROUGH THE WINDSHIELD The rain increasing and backlit by the oncoming headlights. CLOSEUP - MARY Mary starts the windshield wipers. THROUGH THE WINDSHIELD The wipers are having a battle with the now torrential rain. CLOSEUP - MARY Peering through the blurred windshield. CLOSEUP - THE CAR WHEELS slowing down in the flooding highway. CLOSEUP - MARY peering through the windshield. The oncoming lights are fewer. CLOSEUP - THE CAR WHEELS almost coming to a slow turn. THROUGH THE WINDSHIELD just blackness and rain. CLOSEUP - MARY peering. MARY'S VIEWPOINT An almost undiscernible light in the far distance, a neon sign blurred by the rain-sheeted windshield. MARY'S CAR She presses down, forces the car to move on through the flooded road. EXT. THE ROAD As we move closer, we see the neon sign more clearly and can faintly make out the large letters which read "Motel." Mary stops the car, lowers the window slightly, looks out. We see the sign clearly now: "BATES MOTEL." Mary opens the car door and dashes out into the rain and up onto the porch of the motel office. EXT. BATES' MOTEL - (NIGHT) Mary pauses on the porch. The lights are on within the office. She tries door, finds it open, goes into office. CAMERA FOLLOWS her into office. There is no one present. Mary goes to the desk, rings a small pushbell. There is no response. Mary rubs her forehead in weariness and frustration, goes back out onto the porch. She looks off in another direction, slightly behind the office, and sees... MARY'S VIEWPOINT - A LARGE OLD HOUSE - (NIGHT) A path from the motel office leads directly up to this house. There is a light on in one of the upstairs rooms. A WOMAN passes the window, pauses, peers out. We see her in clear silhouette. She quickly goes away from the window. EXT. PORCH OF BATES' MOTEL - (NIGHT) Mary, having seen the woman, expects now that she will get some attention. She stands a few moments, waiting. No one comes. Impatience and anger rise in Mary. She dashes out into the rain, to her car, gets in, opens the side window, begins to honk the horn. After a moment, a YOUNG MAN open the front door of the house, pauses, starts down the path. After a few steps, he turns and runs back into the house. Mary leaves her car, starts a dash for the shelter of the porch. As she runs, we see that the Young Man has gone back only to get an umbrella. Seeing that Mary is on her way to the porch, he runs quickly, the umbrella unopened in his hand. He gets to the porch a moment after Mary has reached it. He stops short, looks at her, then at the umbrella hanging useless in his hand, then back to her. There is something sadly touching in his manner, in his look. Mary's impatience goes and she smiles and this makes him almost smile. He gestures her into the office, standing back to indicate that he will go after her. She goes into the office. INT. OFFICE OF BATES' MOTEL - (NIGHT) The Young Man follows Mary in, closes the door. He is NORMAN BATES, somewhere in his late twenties, thin and tall, soft- spoken and hesitant. NORMAN Dirty night. MARY (not really a question) You have a vacancy? NORMAN (simply, almost cheerfully) We have twelve vacancies. Twelve cabins, twelve vacancies. (a pause) They moved away the highway. MARY I thought I'd gotten off the main... NORMAN I knew you must have. No one stops here anymore unless they do. He is behind the counter now, pushing forward the registration book. NORMAN But it's no good dwelling on our losses, is it. We go right ahead lighting signs and following the formalities... Would you sign, please. Mary has placed her handbag on the counter. She takes the registration book, picks up the pen, is suddenly struck with the realization that she'd better use an alias. She writes the name Marie Samuels. NORMAN Your home address. Oh, just the town will do. MARY (glancing at newspaper sticking out of her handbag) Los Angeles. She realizes he didn't ask her to tell him, merely to write it down. She smiles, writes Los Angeles beside the false name. Norman smiles, stops smiling out of embarrassment. NORMAN Cabin One. It's closer in case you want anything... right next to the office. CLOSEUP - NORMAN He removes a key for Cabin One. We see that there is a remaining key on the board. TWO SHOT - MARY AND NORMAN MARY I want sleep more than anything. Except maybe, food. NORMAN There's a big diner about ten miles on up... just outside Fairvale. MARY Am I that close to Fairvale? NORMAN Fifteen miles. I'll get your bags. He goes to door, opens it. The rain has slowed down considerably. He smiles at this fact, as if to communicate some pleasure he finds in it. Mary follows him to the door, goes out on the porch, waits and watches as Norman runs to her car, gets in, drives it to the parking space in front of Cabin One. Mary walks along the porch, waits before the door of Cabin One. Norman gets out of car, with suitcase, runs to the door, opens it, pushes the door open, puts his hand in and switches on a light. Mary goes into the cabin. Norman follows her. INT. CABIN ONE - (NIGHT) Norman places suitcase on bed, goes to the window, opens it. NORMAN Stuffy in here. (turns to her) Well... the mattress is soft and there're hangers in the closet and... stationary with "Bates' Motel" printed on it in case you want to make your friends back home envious... and... the... over there.... (he points to the bathroom, fairly blushes) MARY The bathroom. NORMAN (quickly, starting to leave) I'll be in the office if you want anything... just tap on the wall. MARY Thank you, Mr. Bates. NORMAN Norman Bates. He pauses at the door, gazes at her. She smiles. NORMAN You have something most girls never have. MARY I have? NORMAN There's no name for it... But it's something that, that puts a person at ease. MARY Thank you. Again. NORMAN (not really a question) You're not going to go out again and drive up to that diner, are you? MARY No. NORMAN Then will you do me a favor? (without waiting for her response) Will you have supper here? I was just about to, myself... nothing more than some sandwiches and a lot of milk, but I'd like it if you'd come up to the house and... I don't set a fancy table but... the kitchen's awful homey. MARY I'd like to. NORMAN All right, you get your dresses hanging out and... change those wet shoes, and I'll come for you soon as it's ready... (starts out) ...with my trusty umbrella. (he laughs a small laugh, runs off) Mary closes the door, goes to suitcase, opens it, starts to take out a dress. Her handbag is next to the suitcase. She glances down into it, pauses, drops the dress, reaches into the handbag, takes out the money-filled envelope, stares at it, almost with regret, filled contemplates hiding it, decides to, starts looking for a reasonable hiding place. She looks about, at the closet, the drawers etc., realizes all such places are obvious. Catching sight of the newspaper in her bag, she hits on a solution. She opens the newspaper, places the envelope within it, lock-folds the paper again and then places it on the bedside table as if it were there for later reading. She considers this for a moment, accepts it, goes to her suitcase to start unpacking. Suddenly the quiet is shattered by the shrill, ugly sound of a woman's voice, raised in anger. WOMAN'S VOICE No! I tell you no! Mary walks slowly to the window, realizing that the terrible voice is coming from the house behind the cabins. CAMERA FOLLOWS her to window and once there we see the light is still on in the upstairs bedroom and the voice is coming from that room. The rain has stopped and the moon is out. WOMAN'S VOICE I won't have you bringing strange young girls in for supper... (an ugly, sneering note creeps into the voice) ...by candlelight, I suppose, in the cheap erotic fashion of young men with cheap, erotic minds! NORMAN'S VOICE Mother, please... WOMAN'S VOICE And then what? After supper, music? Whispers? NORMAN'S VOICE Mother, she's just a stranger... hungry, and the weather's bad... WOMAN'S VOICE (mimicking cruelly) Mother, she's just a stranger! (hard, cruel again) As if men don't desire strangers, as if... oh, I refuse to speak of disgusting things because they disgust me! You understand, Boy? WOMAN'S VOICE (pause) Go on, go tell her she'll not be appeasing her ugly appetite with my food... or my son! Or do I have to tell her, cause you don't have the guts? Huh, boy? You have the guts, boy? NORMAN'S VOICE (blurted cut fury and shame) Shut up! Shut up! There is the SOUND of a door closing in that room up there. Mary has stood by the window, listening with mounting distress and concern and sympathy. She turns her face away now, gazes sadly at the little empty room. In a moment there is the SOUND of the house's front door slamming shut. Mary turns, looks out the window. FROM MARY'S VIEWPOINT - (NIGHT) We see Norman coming down the path, carrying a napkin-covered tray. INT. CABIN ONE - (NIGHT) Mary looks at him for a moment, then turns quickly, goes to the door, opens it and goes out onto the porch. EXT. THE MOTEL PORCH - (NIGHT) Mary pauses outside the door, is about to start forward when Norman comes round the building and walks along the porch, past the office, stopping only when he is close to her. He stares with painful embarrassment at the knowing look in her eye. MARY I've caused you some trouble. NORMAN Mother... (a hollow little laugh, an attempt at sardonic humor) ...what is the phrase... "she isn't herself today"... I think that's it. MARY (looking at the tray) You shouldn't have bothered. I really don't have that much of an appetite. Norman flinches, realizing she has heard his mother's reference to Mary's appetite. NORMAN I'm sorry. I wish... people could apologize for other people. MARY Don't worry about it. (a warm smile) But as long as you've made us supper, we may as well eat it. Huh? She begins to back into her room. Norman starts to follow, hesitates as he sees the total picture of an attractive young woman and a motel room. Bringing down the tray of food, in defiance of his mother's orders, is about the limit of his defiance for one day. He cannot go into Mary's room. NORMAN It might be nicer... warmer in the office. Without waiting for approval or disapproval, he turns, hurries to the office. Mary looks after him, her face showing amused sympathy, then follows. INT. THE MOTEL OFFICE - (NIGHT) Norman looks about, tray in hand, sees there is no reasonable place to spread out a supper. He turns, sees Mary standing in the doorway. NORMAN Eating in an office... (a rueful smile) ...to officious, even for me. I have the parlor behind this... if you'd like. Mary nods. Norman walks on, behind the counter and into the darkened parlor. Mary follows. INT. NORMAN'S PARLOR -(NIGHT) In the darkened room, lit only by the light from the office spilling in, we see Norman placing the tray on a table. Mary comes to the doorway, pauses. Norman straightens up, goes to lamp, turns on the light. Mary is startled by the room. Even in the dimness of one lamp, the strange, extraordinary nature of the room rushes up at one. It is a room of birds. Stuffed birds, all over the room, on every available surface, one even clinging to the old fashioned fringed shade of the lamp. The birds are of many varieties, beautiful, grand, horrible, preying. Mary stares in awe and a certain fascinated horror. CLOSE UP - THE VARIOUS BIRDS TWO SHOT - MARY AND NORMAN NORMAN Please sit down. On the sofa. As Norman goes about spreading out the bread and ham and pouring the milk, we follow Mary across the room. She studies the birds as she walks, briefly examines a bookcase stacked with books on the subject of "Taxidermy." CLOSE UP - THE BOOKS ON TAXIDERMY MED. CLOSE SHOT - MARY She notices, too, the paintings on the wall; nudes, primarily, and many with a vaguely religious overtone. Finally Mary reaches the sofa, sits down, looks at the spread. MARY You're very... kind. NORMAN It's all for you. I'm not hungry. Please go ahead. Mary begins to eat, her attitude a bit tense. She takes up a small slice of ham, bites off a tiny bite, nibbles at it in the manner of one disturbed and preoccupied. Norman gazes at her, at the tiny bite she has taken, smiles and then laughs. NORMAN You eat like a bird. MARY You'd know, of course. NORMAN Not really. I hear that expression, that one eats "like a bird," is really a falsie, I mean a falsity, because birds eat a tremendous lot. (A pause, then explaining) Oh, I don't know anything about birds. My hobby is stuffing things... taxidermy. And I guess I'd just rather stuff birds because... well, I hate the look of beasts when they're stuffed, foxes and chimps and all... some people even stuff dogs and cats... but I can't... I think only birds look well stuffed because they're rather... passive, to begin with... most of them... He trails off, his exuberance failing in the rushing return of his natural hesitancy and discomfort. Mary looks at him, with some compression, smiles. MARY It's a strange hobby. Curious, I mean. NORMAN Uncommon, too. MARY I imagine so. NORMAN It's not as expensive as you'd think. Cheap, really. Needles, thread, sawdust .. the chemicals are all that cost anything. (He goes quiet, looks disturbed) MARY A man should have a hobby. NORMAN It's more than a hobby... sometimes... a hobby is supposed to pass the time, not fill it. MARY (after a pause, softly) Is your time so empty? NORMAN Oh, no! (forcing brightness again) I run the office, tend the cabins and grounds, do little chores for mother... the ones she allows I might be capable of doing. MARY You go out... with friends? NORMAN Friends? Who needs friends. (Laughs, then with gallows humor) A boy's best friend is his mother. (Stops laughing) You've never had an empty moment in your whole life. Have you? MARY Only my share. NORMAN Where are you going? I don't mean to pry... MARY (A wistful smile) I'm looking for a private island. NORMAN What are you running away from? MARY (Alert) Why do you ask that? NORMAN No. People never run away from anything. (A pause) The rain didn't last very long. (Turning suddenly) You know what I think? I think we're all in our private traps, clamped in them, and none of us can ever climb out. We scratch and claw... but only at the air, only at each other, and for all of it, we never budge an inch. MARY Sometimes we deliberately step into those traps. NORMAN I was born in mine. I don't mind it anymore. MARY You should... mind it. NORMAN Oh I do... but I say I don't. (Laughs boyishly) MARY (Staring at him, shaking her head softly.) If anyone ever spoke to me, the way I heard... The way she spoke to you, I don't think I could ever laugh again. NORMAN (Controlled resentment) Sometimes when she talks that way to me I'd like to... curse her out and leave her forever! (A rueful smile) Or at least, defy her. (A pause, a hopeless shrug) But I couldn't. She's ill. MARY She sounded strong... NORMAN I mean... ill. (A pause) She had to raise me all by herself after my dad died... I was only five... and it must have been a strain. Oh, she didn't have to go out to work or anything, Dad left us with a little something... anyway, a few years ago... Mother met a man. He talked her into building this motel... We could have talked her into anything... and when. Well... It was just too much for her when he died, too... And the way he died... Oh, it's nothing to talk about when you're eating. (Pauses, smiles) Anyway, it was too much of a loss for my mother... she had nothing left. MARY (Critically) Except you. NORMAN A son is a poor substitute for a lover. (Turns away as if in distaste of the word) MARY Why don't you go away? NORMAN To a private island, like you? MARY No, not like me. NORMAN It's too late for me. And besides... who'd look after her? She'd be alone up there, the fire would go out... damp and cold, like a grave. When you love someone, you don't do that to them, even if you hate them. Oh, I don't hate her. I hate... what she's become. I hate... the illness. MARY (Slowly, carefully) Wouldn't it be better if you put her in... someplace... She hesitates. | toward | How many times the word 'toward' appears in the text? | 3 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | whether | How many times the word 'whether' appears in the text? | 0 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | green | How many times the word 'green' appears in the text? | 2 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | december | How many times the word 'december' appears in the text? | 3 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | new | How many times the word 'new' appears in the text? | 1 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | ca | How many times the word 'ca' appears in the text? | 2 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | serves | How many times the word 'serves' appears in the text? | 1 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | sky | How many times the word 'sky' appears in the text? | 0 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | lykos | How many times the word 'lykos' appears in the text? | 0 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | hot | How many times the word 'hot' appears in the text? | 3 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | incongruous | How many times the word 'incongruous' appears in the text? | 1 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | syringe | How many times the word 'syringe' appears in the text? | 2 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | cake | How many times the word 'cake' appears in the text? | 3 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | deep | How many times the word 'deep' appears in the text? | 0 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | situations | How many times the word 'situations' appears in the text? | 0 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | fine | How many times the word 'fine' appears in the text? | 3 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | glittering | How many times the word 'glittering' appears in the text? | 0 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | trauma | How many times the word 'trauma' appears in the text? | 1 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | ask | How many times the word 'ask' appears in the text? | 3 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | shadows | How many times the word 'shadows' appears in the text? | 1 |
(drinking the water) You're in love with him, aren't you? Your patient. Do you think he's a saint or something? Because of the way he looks? I don't think he is. HANA I'm not in love with him. I'm in love with ghosts. And so is he. He's in love with ghosts. CARAVAGGIO Who are his ghosts? HANA Ask him. CARAVAGGIO (he holds up his hands) What if I told you he did this to me? HANA (stung) What? How could he have? When? CARAVAGGIO I'm one of his ghosts and he wouldn't even know. It's like he slammed a door in Cairo and it trapped my fucking hands in Tobruk. HANA I don't know what that means. CARAVAGGIO (shrugs) Ask him. Ask your saint who he is. Ask him who he's killed. HANA (furious) Please don't creep around this house. 103*. INT. THE PATIENT'S ROOM. DAY. Hana sits reading from the Herodotus. She shows the Patient the page where a CHRISTMAS CRACKER WRAPPER covered in handwriting has been glued in. HANA Tell me about this, this is in your handwriting - December 22nd - Betrayals in war are childlike compared with our betrayals during peace. New lovers are nervous and tender, but smash everything - for the heart is an organ of fire... (she looks up) I love that, I believe that. (to him) Who is K? THE PATIENT K is for Katharine. 104 EXT. AMBASSADOR'S RESIDENCE, DECEMBER 1938. DAY. A CHRISTMAS PARTY FOR THE TROOPS. The incongruous attempts to create a traditional Christmas in the dusty heat of Cairo. The Party is in the courtyard of the Moorish Palace which serves as the private residence of the British Ambassador, SIR RONNIE HAMPTON. Lots of Wives, including LADY HAMPTON and Katharine help serve tea and cake to the SOLDIERS who sit at rudimentary tables with paper plates and paper hats. A man dressed as SANTA CLAUS is giving out presents - PENGUIN PAPERBACKS, CHOCOLATE. Music blares out from a loudspeaker. Officers and Civilians walk the parameter. One of these, arriving, is Almasy. He sits in the shade, catches Katharine's attention. Katharine brings him over a cup of tea and a plate with Christmas cake on it. ALM SY Say you're sick. KATHARINE What? No! ALM SY Say you're feeling faint - the sun. KATHARINE (but a frisson) No. ALM SY I can't work. I can't sleep. Lady Hampton calls impatiently. LADY HAMPTON Katharine! KATHARINE Coming. (to Alm sy) I can't sleep. I woke up shouting in the middle of the night. Geoffrey thinks it's the thing in the desert, the trauma. ALM SY I can still taste you. KATHARINE (waving at another woman who pushes a trolley with teapots) This is empty, just coming! ALM SY I'm trying to write with your taste in my mouth. (as she leaves) Swoon. I'll catch you. Alm sy sits watching the party. The Santa Claus is dragged outside by some excited Children. Alm sy picks at his cake removing the thick marzipan icing. He's writing on A CHRISTMAS CRACKER WRAPPER, smoothing it out - December 22nd. Betrayals in war are childlike compared with out betrayals du... Katharine, attending to a raucous table, suddenly sags at the knees, and SWOONS. People rush to her. KATHARINE I'm fine. How silly. OFFICER'S WIFE (helping her to her feet) It's the heat. LADY HAMPTON You should sit down, darling. (to the others) She's quite all right. (escorts Katharine away) Are you pregnant? KATHARINE I don't think so. LADY HAMPTON (squeezing her arm) How romantic. With Fiona I fell over every five minutes. Ronnie Christened me Lady Downfall. KATHARINE I think I might go inside and sit down for a few minutes. LADY HAMPTON I'll come with you. KATHARINE No, please. I shall be absolutely fine. They pass Alm sy, who doesn't look up from his book. 105 INT. STORE ROOM. AMBASSADOR'S RESIDENCE. DAY. A small STOREROOM inside the Palace - Brooms, Mops, Cleaning Equipment. Outside, the party is visible as opaque shadows through the beveled glass of the ornate window. The sound of carols sung by the enlisted men gives way to a version of SILENT NIGHT played on a solitary bagpipe. Inside, ALM SY AND KATHARINE MAKE LOVE IN THE DARKNESS. Everything is too fast, desperate, standing up, grabbing, hoisting clothes. 106 INT. CORRIDORS. AMBASSADOR'S RESIDENCE. DAY. A CORRIDOR. Alm sy appears and almost immediately collides with the man dressed as SANTA CLAUS. He moves to one side. CLIFTON Have you seen Katharine? ALM SY (taken aback) What? CLIFTON It's Geoffrey under this. ALM SY I haven't, no. Sorry. 106a*. INT. SIDE ROOM IN AMBASSADOR'S RESIDENCE. DAY. Geoffrey continues scouting the warren of tiny rooms that run off the central courtyard. He finds Katharine sitting in one, smoking, surrounded by oppressive and elaborate tiling. Clifton wonders briefly how Alm sy had missed Katharine. CLIFTON Darling, I just heard. You poor sausage, are you all right? KATHARINE I'm fine. I got hot. CLIFTON Lady H said she thought you might be - KATHARINE I'm not pregnant. I'm hot. I'm too hot. CLIFTON Right. KATHARINE Aren't you? CLIFTON Sweltering. (taking off his hat and beard) Come on, I'll take you home. KATHARINE Can't we really go home? I can't breathe. Aren't you dying for green, anything green, or rain, wouldn't you die to feel rain on your face? It's Christmas and it's all - I don't know - if you asked me I'd go home tomorrow. If you wanted. CLIFTON Sweetheart, you know we can't go home, there might be a war. KATHARINE (poking at his costume) Geoffrey, you do so love putting on a disguise. CLIFTON I do so love you. (he kisses her head) What do you smell of? KATHARINE What? CLIFTON Marzipan! I think you've got marzipan in your hair. No wonder you're homesick. 107*. INT. THE PATIENT'S ROOM. EVENING. The Patient lies alone in his room. CLIFTON'S FACE stares back at him from among the frescoes. Then something distracts him. THE PATIENT Are you outside? A beat and then Caravaggio shuffles in. Like an old boxer. CARAVAGGIO I can't hide anymore. (jerks up his hands) I breathe like a dog. I lose my balance. Stealing's got harder. Caravaggio stares at the Herodotus. CARAVAGGIO Why do I feel if I had your book I would know everything? THE PATIENT I don't even know if it is my book. The Bedouin found it in the plane, in the wreckage. It's mine now. I heard your breathing and thought it might be rain. I'm dying for rain - of course I'm dying anyway - but I long to feel rain on my face. Caravaggio comes close, scrutinizing the face, trying to repair the features. Exasperated. CARAVAGGIO Is it you? If I said Moose... I look different, fuck, why shouldn't you? THE PATIENT (impassive) Moose. CARAVAGGIO (a different tack) First wedding anniversary - what do you call it? THE PATIENT I don't know. Paper. Is it? Paper? (sharp, not wanting to think) I don't remember. 108 INT. MONASTERY LIBRARY. DAY. Hana stands at the PIANO. It's still lop-sided, propped against the wall. She tries but can't move it. So she pulls off the dust-sheet and, with the instrument still on a tilt, begins to play the Aria from Bach's Goldberg Variations. 109 INT. THE PATIENT'S ROOM. DAY. HANA'S PIANO CONTINUES. Upstairs, Caravaggio chats with the Patient while working his arms to RAISE A VEIN, a boot-lace tied around it, preparing an injection for himself, tapping the syringe. During this: THE PATIENT I have come to love that little tap of the fingernail against the syringe. Tap. 110*. INT. MONASTERY LIBRARY. DAY. Hana plays. GUN SHOTS punctuates the music. She's totally engrossed and only hears the second or third shot. Her hands falter, she looks up to see A SIKH SOLDIER RUNNING ACROSS THE FIELD WAVING HIS ARMS, his REVOLVER held aloft. He approaches the door, his face creased with anxiety, and raps on the shattered frame. It's KIP. She gets up and walks past Kip standing at the door, and continues the seven or eight feet to the right and out into the garden VIA THE HOLE RIPPED OUT OF THE WALL. HANA Excuse me. Yes? (of the doors) I don't have the key to that door. KIP The Germans were here. The Germans were all over this area. They left mines everywhere. Pianos were their favorite hiding places. HANA I see. (then mischievous) Then may be you're safe as long as you only play Bach. He's German. Kip is looking around the piano. Hana giggles. KIP Is something funny? HANA No, but, no, not at all. I'm sorry. You came to the doors, that's all and - (a little laugh) #NAME? worried about mines. That's all. KIP I've met you before. HANA I don't think so. Hana bends to see what Kip's looking at under the piano. Wires run from the wall to the instrument onto which is taped an EXPLOSIVE CHARGE. If Hana had succeeded in moving the piano she would have triggered the charge. Kip looks at Hana who conceals her dismay with a shrug. 110a*. EXT. THE MONASTERY GARDEN. DUSK. Across from the terrace, HARDY AND KIP ARE PUTTING UP THEIR TENTS. Caravaggio stands, chatting amiably to them, holding a haversack, smoking a cigarette. 111*. INT. THE PATIENT'S ROOM. DUSK. Hana looks down from the Patient's room, watching the tents go up. HANA He wants us to move out, says there could be fifty more mines in the building. He thinks I'm mad because I laughed at him. He's Indian, he wears a turban. THE PATIENT Sikh. If he wears a turban, he's a Sikh. Kip glances up at the window. Hana, suddenly shy, backs away. HANA I'll probably marry him. THE PATIENT Really? That's sudden. HANA My mother always told me I would summon my husband by playing the piano. She goes over to the Patient's bed. HANA I liked it better when there were just the two of us. THE PATIENT Why? Is he staying? HANA With his Sergeant. A Mr. Hardy. THE PATIENT We should charge! Doesn't anyone have a job to do? HANA They have to clear all the local roads of mines. That's a big job. They won't stay in the house. They're putting up their tent in the garden. THE PATIENT In that case, I suppose we can't charge. 112*. INT. OFFICE, BRITISH HQ. CAIRO. DAY. A SMALL OFFICE, shared by two men, and a mountain of filing cabinets and paper. There are AERIAL MAPS all over the walls. Clifton is on the telephone, while his colleague, RUPERT DOUGLAS, works at the desk. CLIFTON (into the phone) Darling, it's me, I'm sorry, something's come up. (Katharine responds) Don't sulk - I'll be back tomorrow evening. I promise. (Katharine responds) Okay my precious, I love you. Rupert makes a face at his friend's sentimentality. Clifton beams. RUPERT I didn't know you were going anywhere? CLIFTON I'm not. I'm going to surprise her. It's our anniversary. She's forgotten, of course. What's the symbol for your first anniversary? I should get something. Is it paper? (he knocks sharply on the wall) Moose! Moose, you there? First Anniversary - is it cotton? CARAVAGGIO Is what cotton? CLIFTON First Wedding Anniversary. RUPERT (of Clifton) He's hopeless! CLIFTON Your day will come, my sausage. CARAVAGGIO Your first anniversary is Paper. 113 EXT. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. The approach to the Shepheard's Hotel. Geoffrey Clifton in a TAXI, champagne between his knees. The car ahead of them SCREECHES TO A HALT as a WOMAN hurries across the street. The driver honks his horn angrily. The woman puts up a hand in apology as she skips across the street to another taxi. IT'S KATHARINE - she's dressed for a date, carries flowers, an overnight bag. Geoffrey, at first excited, is troubled by the accouterments. Then he sees Katharine skip and his whole being punctures. Katharine's cab roars off. His own car jerks forward. CLIFTON Stop! CABBIE Please? CLIFTON Stop here. CABBIE Yessir. Geoffrey sits in the cab. Fifty yards short of the hotel. The world rushes by. He finds a cigarette. 114 INT. ALM SY'S ROOMS. LATE DAY. Katharine is in bed. Alm sy has just put A RECORD on. It's the folk song heard at the beginning of the film. He slips back under the covers. Their clothes are scattered around the room. He lies over a happy Katharine. She listens. KATHARINE This is - what is this? ALM SY It's a folk song. KATHARINE Arabic? ALM SY No, no, it's Hungarian. My daijka sang it to me. KATHARINE (as they listen) It's beautiful. What's it about? ALM SY (as if interpreting) It's a long song - Szerelem means love...and the story - there's a Hungarian Count, he's a wanderer, a fool. For years he's on some kind of quest, who knows what? And then one day he falls under the spell of a mysterious English woman - a harpy - who beats him and hits him and he becomes her slave. He sews her clothes, he worships the hem of - Katharine had thought for a few seconds he was serious, then she catches on and starts to beat him. ALM SY (laughing) Ouch! See - you're always beating me..! KATHARINE You bastard, I was believing you! They embrace, he lies over her, considering her naked back. ALM SY I claim this shoulder blade - oh no, wait - I want this! He turns her over, kisses her throat, then traces the hollow indentation. ALM SY This - what's it called? - this place, I love it - this is mine! (Katharine doesn't know) I'm asking the King permission to call it the Almasy Bosphorous. KATHARINE (teasing) I thought we were against ownership? (kissing him) I can stay tonight. The luxury of this makes them both sad. The duplicity. Alm sy rolls away on to his back. ALM SY Madox knows, I think. He's tried to warn me. He keeps talking about Anna Karenina. I think it's his idea of a man-to-man chat. Its my idea of a man-to-man chat. KATHARINE This is a different world - is what I tell myself. A different life. And here I am a different wife. ALM SY Yes. A different wife. 115 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. NIGHT. The CAB DRIVER is asleep. A loud POP! jerks him awake. In the back of the car Geoffrey has opened the champagne. He lets it overflow, then takes a swig. He notices the startled driver and puts up an apologetic arm. CLIFTON Sorry. Two or three CHILDREN knock on the window, begging. Geoffrey knocks back, violently. They disappear. CABBIE Hotel now, sir? GEOFFREY No. And he throws a silencing wad of money onto the seat by the Cabbie. 116 EXT. ALMASY'S HOUSE. OLD CAIRO. DAWN. Alm sy and Katharine wander out of his building and into the early morning streets, hand in hand. 117 EXT. SPICE MARKET. CAIRO. DAWN. The MORNING PRAYERS rise out from the city's three Minarets. Alm sy stops at a stall, which is just preparing to open for the day. He picks up a SILVER THIMBLE, points at it to the merchant who gives him a price. Without comment, Alm sy produces the money and, beaming, hands the thimble to Katharine. ALM SY I don't care to bargain. (she smiles) It's full of saffron, just in case you think I'm giving it to you to encourage your sewing. KATHARINE That day, had you followed me to the market? ALM SY Of course. You didn't need to slap my face to make me feel as if you'd slapped my face. KATHARINE (loving him, but frightened) Shall we be all right? ALM SY Yes. Yes. (shrugs) Absolutely. 118 EXT. CAIRO STREET. DAWN. Katharine takes leave of Alm sy on the street corner away from the hotel entrance. They don't kiss, there's no demonstration of feeling. He turns immediately away and disappears. 119 INT. CAB. CAIRO STREET. O/S SHEPHEARD'S HOTEL. DAY. Geoffrey, unshaven, watches as Katharine crosses the street and heads towards the hotel. His expression is terrible, trying to smile, his face collapsed. 120 INT. THE PATIENT'S ROOM. MORNING. Cheek to Cheek leaks into the room from a GRAMOPHONE that Caravaggio stands over proudly. The Patient opens his eyes - is confused, dislocated - stares blankly at Caravaggio. CARAVAGGIO (grinning) Thought you'd never wake up! THE PATIENT What? Hana comes in, sleepily, frowns at the gramophone. HANA Where did you find that? CARAVAGGIO I liberated it. HANA I think that's called looting. CARAVAGGIO (relaxed) No-one should own music. The real question is who wrote the song? THE PATIENT Irving Berlin. CARAVAGGIO For? THE PATIENT Top Hat. CARAVAGGIO Is there a song you don't know? HANA (speaking for him) No. He sings all the time. She goes over to the Patient and kisses him gently. HANA Good morning. (of his singing) Did you know that? You're always singing? THE PATIENT I've been told that before. HANA Kip's another one. She goes to the window, looks over to where the tents are pitched, sees Hardy shaving, Kip IN THE PROCESS OF WASHING HIS HAIR, his turban HANGING LIKE A RIBBON between two trees to dry. He's perched a bowl on the sundial and is dipping his long coal-black hair into it. As Hana watches Kip, Caravaggio changes the record. The Patient identifies it immediately. 121*. EXT. MONASTERY GARDEN. MORNING. Hana walks past the tent, and passes Hardy. She's carrying a small cup, which she's a little furtive about. He's carrying a whole armada of OIL LIGHTS. He nods upstairs. HANA Hello. HARDY Hello miss. HANA I was going to say - if you want to eat with us, ever... you and Lieutenant Singh... HARDY Very kind of you, we can always eat in the town with the others - HANA Since Caravaggio turned up - food seems to appear, so please. HARDY I'll ask the Lieutenant. But thank you. HANA You saved my life. I haven't forgotten. (Hardy waves that away) I thought you were very very tall. You seemed to big - a Giant - and I felt like a child who can't keep her balance. HARDY (does a little mime) A toddler She goes on, and tentatively approaches Kip, who's still working at his hair. Kip hears her and puts out an inquiring arm, moving towards her like a blink man through the curtain of hair. He touches her. HANA Sorry, is it all right I'm seeing this? Kip shrugs. HANA My hair was long. At some point. I've forgotten what a nuisance it is to wash. You know - if you were ever around - we get water from the pump at noon. He continues to wash. She holds up the cup of oil. HANA Try this. I found a great jar of it. Olive oil. In Naples this was so precious it would have bought you a wife. KIP Thank you. She stands for a second, then walks away. Kip examines the oil, calls after her. KIP For my hair? HANA (turning, smiling) Yes, for your hair. 122 EXT. THE MONASTERY. HANA'S GARDEN. DAY. HANA IS GARDENING, close to the crucifix, which is now a full-fledged Scarecrow. Broken bottles, fragments of stained glass and shards from a mirror are hung from the crossbar, syringes too, all jangling and tinkling and catching the sunlight. Kip and Hardy drive off to work on their motorcycles. She watches them, catching Kip's careless wave to her. She looks briefly at herself in A PIECE OF MIRROR dangling from the Scarecrow. 123 INT. THE MONASTERY. UPSTAIRS LANDING. DAY. Hana walks along the landing with a tray. There's a message on several doors in the corridor from Kip: SAFE, then a couple with the warning: DANGER. She hears noise from the Patient's room. Listens for a second before going in. THE PATIENT (O/S) Because you're reading it too fast! THE PATIENT (O/S) Not at all. THE PATIENT (O/S) You have to read Kipling slowly! Your eye is too impatient - think about the speed of his pen. (quoting Kipling to demonstrate) What is it - He sat comma in defiance of municipal orders comma astride the gun Zamzammah on her brick... What is it? 124 INT. THE PATIENT'S ROOM. DAY. During this, Hana comes through with the tray, finds Kip perched on the window, relishing his skirmish with the Patient, who has condensed milk dribbling down his neck. KIP Brick platform opposite the old Ajaib-Gher - THE PATIENT #NAME? natives called the Lahore Museum. KIP It's still there, the cannon, outside the museum. It was made of metal cups and bowls taken from every household in the city as tax, then melted down. Then later they fired the cannon at my people - comma - The natives. THE PATIENT So what do you really object to - the writer or what he's writing about? KIP What I really object to, Uncle, is your finishing all my condensed milk. (snatching up the empty can) And the message everywhere in your book - however slowly I read it - that the best destiny for India is to be ruled by the British. THE PATIENT Hana, we have discovered a shared please - the boy and I. HANA Arguing about books. THE PATIENT Condensed milk - one of the truly great inventions. KIP (grinning, leaving) I'll get another tin. Hana and the Patient are alone. HANA I didn't like that book either. It's all about men. Too many men. Just like this house. THE PATIENT You like him, don't you? Your voice changes. HANA I don't think it does. (a beat) Anyway, he's indifferent to me. THE PATIENT I don't think it's indifference. Kip comes bounding in with a fresh can. THE PATIENT Hana was just telling me that you were indifferent - HANA (appalled) Hey! - THE PATIENT #NAME? KIP Well, I'm indifferent to cooking, not Hana's cooking in particular. (stabbing at the tin with a bayonet) Have either of you ever tried condensed milk sandwiches? 125 DELETED. 126. INT. THE PATIENT'S ROOM. MORNING. Caravaggio and the Patient are singing - an Arab song which they both know from Cairo days. THUNDER accompanies them. It's pouring. Suddenly the door is flung open and HANA, KIP and HARDY appear. They have the stretcher with them. 127*. EXT. THE MONASTERY CLOISTERS. MORNING. A whoop precedes THE HEADLONG RUSH OF KIP, HARDLY and CARAVAGGIO as they cart the Patient across the Cloisters like manic stretcher- bearers. Hana is with them, holding an umbrella over the Patient who bounces uncomfortably. He is nervous, a little giddy. The rain buckets down. THE PATIENT (no irony) Careful - careful! 127a*. EXT. THE MONASTERY GARDEN. MORNING. The storm tour includes a trip around the pond. The Patient pushes away the umbrella, lets the rain drench him. He grins at Hana. THE PATIENT This is wonderful! KIP (to Hana) What's he saying? HANA He's saying it's wonderful! 128*. INT. LIBRARY OF THE DEPARTMENT OF EGYPTOLOGY. DAY. Madox and Alm sy are camped in one corner of THE LIBRARY, hunched over their maps and papers and journals and clashing furiously over the site of the next part of the expedition. MADOX (pushing away his charts) And I'm telling you there's nothing there to explore. ALM SY No, because you can't see from the air! If you could explore from the air life would be very simple! (he yanks up a map) Look! What is that? Is that a wadi? That whole spur is a real possibility... MADOX Which we've overflown twice. ALM SY Which we couldn't explore because of rocks, because of cross-winds, it's sloppy. (stabbing another location) And here - and here - we could be staring at Zerzura. Other readers look over at this unseemly skirmish. MADOX So - on Thursday you don't trust Bell's map - Bell was a fool, Bell couldn't draw a map, but on Friday he's suddenly infallible? Alm sy is surprised by Madox' anger. MADOX And where are the Expedition Maps? ALM SY In my room. MADOX Those maps belong to His Majesty's Government. They're confidential. They shouldn't be left lying around for any Tom, Dick or Mary to have sight of. ALM SY What's the matter with you? MADOX Don't be so bloody na ve. You know there's a war breaking out. (he tosses a slip of paper onto the map, recites its message) This arrived this morning. By order of the British Government - all International Expeditions to be aborted by May 1939. 129 INT. CAIRO STREET. DAY. Alm sy and Madox walk down this busy and rather narrow street without pavements. Both of them somber. ALM SY Why do they care about our maps? MADOX What do we find in the desert? Arrow heads, spears. In a war, if you own the desert, you own North Africa. ALM SY (contemptuous) Own the desert. Alm sy hesitates at a junction, clearly about to take leave of Madox. ALM SY That place at the base of a woman's throat? You know - the hollow - here - does that have an official name? Madox looks at him. MADOX For God's sake, man - pull yourself together. 130 INT. OPEN-AIR CINEMA. CAIRO. EVENING. The OPEN-AIR CINEMA is just beginning its evening programme. PATHE NEWS BEGINS and we date the event to April 1939. Stories of imminent war jostle with images of Merrie England. Village greens, sporting victories, Cruft's Dog Show. Alone among the necking couples - mostly soldiers with their Egyptian girlfriends - in an otherwise empty block, is Katharine. She's waiting for Alm sy. A SOLDIER comes over to Katharine's row and settles a couple of seats away from her. SOLDIER Beggin your pardon, miss, but have you got a lighter? Katharine lights his cigarette and returns to the screen. An item about Fred Astaire and Ginger Rogers and TOP HAT. The stars do their stuff. The soldier moves a seat nearer. SOLDIER (leering) I love Ginger, she's a foxy girl, ain't she? KATHARINE Fuck off. SOLDIER What? KATHARINE You heard me. The Soldier slinks off, muttering. Katharine is wretched. She sits head down, not watching the screen, marooned in her despair about duplicity, sordid assignations. Alm sy arrives, slides in beside Katharine, his shadow momentarily large across the screen. ALM SY Sorry. They watch the screen. Katharine is weeping. Alm sy doesn't understand. He puts his arm around her. KATHARINE I can't do this, I can't do this any more. 131*. EXT. GROPPI PARK. CAIRO. EVENING. A man walks round with A HAND BELL - announcing that the Park is closing. He turns off the gaslights which illuminate the animal cages. Alm sy and Katharine sit stiffly on a bench. They don't speak. Alm sy puts his hands to his head, he rubs his shoulders. The lights are gradually being extinguished around them. Finally, Katharine gets up. KATHARINE I'd better get back. (she keeps him away with a hand) Say goodbye here. ALM SY I'm not agreeing. Don't think I'm agreeing, because I'm not. They stand, awkward. Katharine rehearses her position. The bell clangs. KATHARINE I just know - any minute he'll find out, we'll barge into somebody we'll - and it will ill him. ALM SY Don't go over it again, please. He takes her hands, lays his cheeks into them, then releases them, gets up, walks away. She walks towards the gate. He calls after her. ALM SY Katharine - He walks towards her, his smile awful. ALM SY I just wanted you to know. I'm not missing you yet. She nods, can't find this funny. KATHARINE You will. You will. Then she turns sharply from him and catches her head against the gatepost, staggers at the shock of it, then hurries away. 132*. INT. THE PATIENT'S ROOM. MORNING. Hana sits with the English Patient - the room shuttered against the morning light. His breathing is noticeably worsening, a shudder of a breath, the shallow rise and fall of his chest perceptible. Hana frets, touches his wrist, feeling for the pulse. THE PATIENT I'm still here. HANA You'd better be. THE PATIENT Don't depend on it. Will you? That little bit of air, each day there's less of it, which is al right, which is quite all right. She squeezes his hand, suddenly overwhelmed. THE PATIENT (brightly) I've been talking to Caravaggio - my research assistant - there's meant to be a ghost in the Cloisters. I can join him! There's some kind of noise from the garden. Muffled shouts. THE PATIENT It's the boy. Hana goes to the window, opens the shutters. The day pours in. 132A*. EXT. MONASTERY OLIVE GROVES. DAY. Hana sees Kip - barely visible - standing at the far perimeter of the garden in the olive groves, HIS HANDS RAISED ABOVE HIM, HIS LEG HELD OUT STRANGELY. WIRES run from his foot in all directions as if he'd trodden in some elaborate steel cobweb. 133 EXT. MONASTERY OLIVE GROVES. DAY. Hana appears at the edge of the Olive groves and hurries towards Kip, who hasn't moved. He shouts warning her. KIP Go to the left! Keep to the left! There are mines and trip wires everywhere! Hana stops, hoists up her skirt and circles left, tentative in the long grass. He shouts, doesn't want her close. KIP Get Hardy. He's on the other side of town. In the hills. Get him to hurry. She keeps coming, can see that he needs her. HANA It's okay - I'll help. Please. KIP The mines, the wires, there's a trick. Some explode if you stretch the wires, some if you cut them. HANA What do I do? KIP There's a mine here, but the others are far enough away, I think at least to give me a chance. I have to work out which one to cut before I fall over. HANA So I | boot | How many times the word 'boot' appears in the text? | 1 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | mask | How many times the word 'mask' appears in the text? | 2 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | walks | How many times the word 'walks' appears in the text? | 1 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | bangs | How many times the word 'bangs' appears in the text? | 2 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | mouth | How many times the word 'mouth' appears in the text? | 1 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | aged | How many times the word 'aged' appears in the text? | 0 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | fast | How many times the word 'fast' appears in the text? | 3 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | thinks | How many times the word 'thinks' appears in the text? | 0 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | descend | How many times the word 'descend' appears in the text? | 0 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | words | How many times the word 'words' appears in the text? | 1 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | toxic | How many times the word 'toxic' appears in the text? | 1 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | title | How many times the word 'title' appears in the text? | 0 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | reason | How many times the word 'reason' appears in the text? | 0 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | trip | How many times the word 'trip' appears in the text? | 0 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | fishers | How many times the word 'fishers' appears in the text? | 3 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | assistance | How many times the word 'assistance' appears in the text? | 0 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | flops | How many times the word 'flops' appears in the text? | 0 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | taylor | How many times the word 'taylor' appears in the text? | 2 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | sure | How many times the word 'sure' appears in the text? | 2 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | seat | How many times the word 'seat' appears in the text? | 1 |
- DAY The van is parked. Dwayne sits behind the wheel. Metallica's "Ride the Lightning" begins to play loudly. DWAYNE You really fucked up this mix tape. Dwayne ejects the tape, tosses it at Jay in the passenger seat. DWAYNE We're not speed freaks knocking off a 7-Eleven. We're masterminding a heist here. JAY Sorry, Dwayne. That song just means a lot to me. Dwayne shakes his head. He turns and looks out the windshield: they're parked in the Walmart lot, watching the store entrance. DWAYNE I wish he would hurry his shit up. 48. JAY You worried about that other guy he's with? DWAYNE No, man. He picked him up at a school. So long as there ain't any cops, he can take the whole town with him. I just want my money. Dwayne surveys the area. Something catches his attention: the bland strip mall across the street. There's a Blockbuster, Subway, and an empty space in between. Dwayne smiles. JAY What? You want me to run over to Subway, get us a couple sandwiches? DWAYNE If you had any vision, Jay, you'd know exactly what I'm thinking about right now. And it's not a sandwich. (BEAT) Look how well trafficked that shopping mall is. It's the perfect place for the tanning salon. Jay checks it out, nods. JAY Oh, you're totally right. DWAYNE I've been thinking about it, and I want you to start off working the counter. Sounds like a demotion, I know, but it's an important position. Because we're gonna be using code words and shit. For example, if a customer walks in and says he wants a tan, that just means he wants a tan. But if he says he wants a "deluxe tan," that means a blow job and you gotta get one of the girls in there to suck him off. You with me? JAY So far. But what if he wants a fuck? DWAYNE There's gonna be codes for everything: missionary, anal, black chicks. I got it all written down back home in my files. (MORE) 49. DWAYNE (CONT'D) I'm not gonna bother getting into it with you right now, because you're supposed to be on lookout and you're no good at multitasking. JAY Okay. 'Cause they're about to get away. Dwayne spots the Mustang pulling away. DWAYNE Fuck. He throws the van into gear. INT. MUSTANG - DAY - MOVING Will navigates the streets. Chet is in the back seat, where he has newspaper spread out and is spray painting the air pistols, and much of the car, black. WILL Be careful, you're getting paint everywhere. CHET Are you really worried about your upholstery right now? WILL Yes, because if I survive this shit I'm quitting my job. That means I'll probably have to give up my place and I'll be sleeping in the back of my car, which you're covering in toxic paint. Chet touches up one of the guns, goes to flip it over. WILL That side isn't dry yet. You're about to ruin it. CHET It says it's fast drying. WILL Fast isn't the same as instant. You gotta let it sit for like 20 minutes. CHET How would you know? You do a lot of graffiti? 50. WILL No, but I spray painted my bike last year after I got my license suspended. I didn't let it dry properly and I fucked it up. CHET We don't have time to sit around and literally watch paint dry. Aren't we going straight to the bank? WILL I was actually thinking we need to stop and steal a car first. Chet drops the spray paint, whirls on Will. CHET What? No way! We've got a car. WILL Yeah, my car. I'm not gonna use it as a getaway vehicle. They can trace the plates. Even if we do get away, we'll be arrested. CHET Well, I can't hotwire a fucking automobile, and neither can you. WILL That's why I was thinking we'd steal one from your parents' friends. The Fishers. Remember how they used to pay us to clean their garage? They leave the keys in there. And they have a Datsun. That's a fast car. CHET I'm not stealing the Fishers' Datsun. Let's steal a car from your parents' friends. Will seethes. He whips the car over to the side of the road and gets in Chet's face. WILL What friends? My parents don't have any. My dad moved away after your big mouth ruined his marriage and humiliated him, and no one wanted to hang out with the mom who everyone knew fucked a lifeguard. 51. CHET You never should have told me! I was 13 years old. I couldn't process that kind of information. I had to tell someone else. (shakes his head) Fuck. I really am sorry about it. Okay? Despite what I said before. I was just a kid, but I messed up. WILL Okay. Chet looks at Will, expectantly. CHET That's it? You're not gonna apologize for selling my Cal Ripken ball? WILL Sure. I'm sorry...I'm sorry that my family was going through a rough patch and I was smoking a ton of weed and listening to the Wu Tang Clan all the time. And that I needed some extra dough to indulge my habit. Which, in hindsight, was probably just a cry for help. But you never even noticed. CHET Thanks. Now I feel even worse. Will sits there, stewing for a moment. Then he softens - WILL I shouldn't have stolen the ball. I knew it was wrong and I regretted it like the next day. I actually tried to buy it back but the guy wanted twice as much. I had to smoke even more weed just to get past the whole shitty incident. I guess that's why they call it a downward spiral. CHET I appreciate that you tried to buy it back. So, thanks. An awkward moment passes. CHET We should probably get going. Will turns back around, goes to pull out without looking and - 52. A horn blares as a speeding delivery truck barrels right at them. Will slams the brakes, barely avoiding a collision. CHET Fuck! Fuck! I just want this goddamn day to be over! As Chet continues to freak - SUPER COUNTDOWN: 5 hours, 15 minutes... CUT TO: EXT. THE FISHERS' GARAGE - DAY Will keeps watch of the house. Chet squeezes through a garage window he has pried open. INT. THE FISHERS' GARAGE - DAY Chet drops ungracefully to the floor, right beside a well maintained 1977 Datsun 240Z. Chet hurries over and unlocks the side door. Will enters, hauling the Walmart bag of supplies. He goes right for a set of hooks on the wall. WILL The keys aren't here. They always used to leave the keys out. CHET Yeah. When we were teenagers. This is fucked. WILL Let's just find them. The guys ransack the garage. Chet knocks over a shelf full of clutter. CHET Sorry. Will goes to the car and tries the handle. It's open. He scours the interior. CHET You hear that? WILL What? Chet peeks through the glass pane in the door. 53. CHET Mr. Fisher is coming! As he looks for an escape - CHET Oh shit, oh shit. Are the keys in there? WILL No! Will hops out of the car. He rifles through the Walmart bag. CHET What are you doing? Will pulls the ski masks out of the bag, along with one of the freshly painted air pistols. WILL I'm doing what I have to. Will puts a ski mask on, then throws one to Chet. The door opens and MR. FISHER (60s) enters. Chet quickly pulls down his mask. It's backwards. Will levels the pistol - MR. FISHER Oh, Jesus! Mr. Fisher braces himself against a wall. Chet fumbles to turn his mask around. Will affects a deep voice - WILL Where are the car keys? MR. FISHER They're in my pocket! I'm just reaching in my pocket for the keys! WILL Quiet down and do it already. Mr. Fisher reaches into his pocket and produces the keys. They jingle as he holds them out in his trembling hand. Will snatches them. WILL Now listen, I don't want you to report this car stolen or anything until later tonight. Let's say 5 o'clock. 6 to be safe. 54. MR. FISHER Sure. Anything you say. Will seems unconvinced. He looks to Chet, who shrugs. Will turns back to Mr. Fisher and gestures violently with the gun - WILL If you fuck with us, I swear, I will...I will shoot your son. Taylor. I know where he works. At the fucking travel agency. He's the douchebag with the bangs. MR. FISHER (STUNNED) Please no. I won't do anything. I won't. Just leave Taylor alone. WILL I'm gonna trust you. But if you call the police, there's gonna be an undertaker styling his stupid fucking bangs! (BEAT) Now open the garage door. Mr. Fisher hits a switch that raises the garage door. Chet grabs their stuff and gets in the passenger side. Will backs toward the driver side. WILL The car's insured, right? Mr. Fisher nods. WILL Okay. I feel better. Worse comes to worst, something happens to it, you can get a Honda. This thing doesn't even have airbags. MR. FISHER Please, just go. Will slides into the car and starts it up. EXT. THE FISHERS' GARAGE - DAY The car peels away. INT. DATSUN - DAY - MOVING The guys yank off their ski masks. 55. CHET That old man's got a heart condition! You could have killed him! WILL My hand was forced! Chet tries to get comfortable in the seat. CHET Awesome. I'm stuck inside an even smaller car with you and a bomb. Will works the manual transmission. He steps on the gas. WILL This thing's got some pickup. CHET Could you just take it easy, we're doing fine on time. WILL I know...but there's one last stop we have to make. CHET Do you have to take a piss first? Because I do. Will nervously drums his fingers on the steering wheel, trying to figure out how to say - WILL I need to see your sister. CHET Are you for real? Did you really just ask me that? You salt-in-an- open-wound motherfucker! WILL Chet, as if it isn't apparent, I may die today. I'll probably die today. And if there's one small thing that's clear to me now, it's that I've wasted two and a half decades as a pussy, watching everything I want pass me by. I don't wanna peace out of this world as a pussy. I need to tell her how I feel. CHET You're really gonna turn this into some sort of dying wish bullshit? 56. WILL Yes, I really am. It means that much to me. I am not fucking around here. CHET I don't think you are. I mean, apparently, you love my sister so much that you're willing to put her life in danger by going to see her with a bomb strapped to your chest. WILL She won't be in danger. I promise. I got it all worked out. And you can even take a piss while I'm inside. EXT. OFFICE BUILDING - DAY The Datsun pulls around and parks in back. PULL BACK TO REVEAL the minivan parking across the street. INT. MINIVAN - DAY Dwayne and Jay watch Will hurry out of the Datsun. DWAYNE Where the fuck is he going? What's in there? Some sort of FBI headquarters? I told that guy not to fuck around! Dwayne pulls out his cell phone, punches in the speed dial code. His finger hovers above the send button. DWAYNE Maybe I should give that bomb a call. JAY No! Let me just go see what he's up to. Dwayne smirks. DWAYNE I was just fucking around. Are you gay for this guy or something? JAY I just wanna get the money, Dwayne. Same as you. DWAYNE All right. Then man up and go check it out. As Jay reaches for the door handle - 57. DWAYNE Don't even tell me you're about to do a reconnaissance without a cover. What's you cover? JAY I don't know...I'm from the telephone company? DWAYNE Yeah, nice fucking uniform. Dwayne rummages in the back of the car, produces a shopping bag and starts filling it with random clothes strewn across the car. He shoves the bag at Jay. DWAYNE You're a personal shopper. You're delivering the latest fashions to Mr. Quilby in marketing. Got it? Jay nods, hops out with the bag and slams the door. Dwayne looks down at the cell phone in his hand, twirls it as he hums a revival song...sings the lyrics, softly - DWAYNE "He's got the whole world in his hands. He's got whole fucking world in his hands..." INT. STAIRWELL, OFFICE BUILDING - DAY Will runs up the stairs, a phone pressed to his ear - WILL ...no, I'm here right now. KATE (O.S.) (OVER PHONE) Why are you acting so strange? WILL Because strange shit is going on. I'll explain everything. Just meet me where I texted you. KATE (O.S.) WILL - WILL Please. Just do it. 58. EXT. ROOF, OFFICE BUILDING - DAY You can see the entire shitty town from up here. The access door opens and Kate emerges, wind tousling her short hair. KATE (CALLING OUT) Will? Will waves at her from where he is standing, way across on the other side of the roof. Kate starts toward him. WILL Stop! Will takes out his cell phone and dials. Kate's phone rings. She answers it, confused. KATE What are you doing? We STAY on Will. We can see Kate, standing 30 feet away, but her voice comes over Will's cell phone, with a delay that is slightly jarring. WILL Just don't come any closer. KATE Why not? What's going on? WILL I'm gonna give you the short version of an incredibly complicated and fucked up situation, so please be cool. (BEAT) Some very bad guys strapped a bomb to my chest and they are forcing me to commit a crime. KATE Will, I swear, if this is - WILL I wish I was joking, but I'm not. I know it's a lot to swallow, but you gotta take it on face value, because there's a timer attached to this thing and it's counting down. Kate's voice falters - KATE Oh my god, Will...we'll get help. I'll get you help. 59. WILL I didn't come here for help. I'm taking care of it. I came here because, should things not work out today as I would like them to, I want you to know why I was doing the things I did. KATE Please, just let me call someone. Let me do something. This is crazy! WILL I don't disagree with you. It's fucking nuts. But that's not even what this is about. (STRUGGLING) Do you remember when you found that picture in my car of you, me and Chet, with Chet cut out of it? KATE Will, I can't remember about some stupid picture while you're - WILL I need you to remember about the picture, and about how I stop by your office every Friday, and how I've always hated all your boyfriends, and how the two girls I've ever seriously dated have looked like less attractive versions of you. (BEAT) Do you see where I'm going with this? I love you Kate. I have for a very long time. Kate is barely holding it together. KATE Will, this is a lot you're putting on me! You just told me people are trying to kill you or something, and now you say you love me. What the fuck is going on? WILL A whole lot of shit. I'm sorry to do this to you, but I was afraid I'd never get the chance to tell you. And I know you have feelings for me, too. Maybe you feel for me the way you feel for a good friend, or - if the world fucking hates me - a brother. (MORE) 60. WILL (CONT'D) But what I hope is that you don't really know how you feel for me, and that maybe when you figure it out you'll realize it's the same way I feel for you. Does that make any sense? KATE Yes. I mean, I've known you forever. It's not an easy thing to figure out. WILL I don't need an answer now. Just think about it. And no matter what you decide, you're too good for assholes like Mark and the rest of them. Kate manages a small, stifled laugh. KATE Okay. I will process all of this. It's just, the bomb - WILL It's distracting. I know. Anyway, I'd love to stay and talk some more, but I can't. I gotta ask you to leave now, because I'm running out of time. Kate nods. Will hangs up the phone. She turns back toward the access door, stops. She yells across the roof at Will - KATE If I had time to think about it...I'd probably tell you that I've always felt very strongly for you. And I've never thought of you as a brother. Will smiles, yells back - WILL That's a huge relief. Don't say anything else. I just really don't want to die now. KATE Try not to. Please. Kate turns and continues to the access door. 61. INT. STAIRWELL, OFFICE BUILDING - DAY Jay paces about the landing that leads up to the roof. He hears the door opening and hurries down to the entrance for the nearest floor. He tries the door, but it's locked. Kate enters the stairwell from the roof access door and spots Jay trying to force the door open. She is holding back tears. He just looks incredibly confused. JAY I'm, uh...I'm a personal shopper. I'm looking for Mr. Quilby. KATE I'm sorry, I don't know who that is. Kate continues down the stairs, tears coming now. Jay waits a beat, then hurries down and tries the door on the next level, which is open. INT. MINIVAN - DAY Jay jumps in the van, huffing and puffing. DWAYNE So? JAY It was just his girlfriend or something. DWAYNE Getting one last blow job in case he don't make it. I kinda like this guy. INT. DATSUN - DAY Will, galvanized by the exchange, hops inside. CHET Did you tell her how you saw her naked when she was 13? That always works. WILL I said my piece. She's gonna think about it. CHET Shut up. She was freaked out. WILL Yes. By the bomb. CHET By you. 62. WILL Would it be so bad if we ended up together? You and I would be family. CHET I don't want you in the family. You bring very little to the table. I want her to be with someone awesome. A pro quarterback. A war hero. At the very least, someone I've never watched porn with. WILL Well, now it's up to her. CHET Not if I set that bomb off myself. WILL Then you'd probably never get to rob a bank. Will throws the car into gear and pulls away. SUPER COUNTDOWN: 4 hours, 10 minutes... CUT TO: EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY The Datsun is parked in the half-full lot. The guys lean against the driver side, with their backs to the bank and the car providing cover. They each have a spray painted air pistol tucked into their pants. WILL You go for the money. I'll cover the crowd. In and out. Chet clasps his hands around his stomach. CHET I'm not feeling so good. I drank like three of those 5-Hour Energy drinks. WILL It's just nerves. Let's pull our shit together and do this thing. Chet reigns it in. The guys slide on the leather gloves and rolled up ski masks. They turn and stride toward the bank. The guys stop as they get to the door. They pull the ski masks down and take out their air pistols. 63. CHET What should I call you in there, like if I need to ask you to do something? WILL Call me Tivon. You'll be Darius. CHET I can tell you're not a black guy through the ski mask. WILL Fine. Then you'll be Luis and I'm Cruz. We're two loco motherfuckers and that's the way we gotta roll when we get in there. INT. DONNER-WELLS NATIONAL BANK - DAY It's business as usual for a dozen CUSTOMERS and about as many EMPLOYEES. They all just want to get done with their shit and go home, when - Will and Chet burst through the bank doors, guns in hand. WILL Everybody put your hands in the air! CHET No, get on the ground! WILL Actually, listen to him and get on the fucking ground! Will and Chet are on an adrenaline high, waving their guns everywhere. People scream. WILL Shut up! Please! Will frantically scans the panicked crowd for - The SECURITY GUARD (40s), rail thin and jumpy. Will points his gun right at him. WILL You, just stand right there and don't do shit! The rest of you get the fuck down! Spread your arms and legs! Why is no one listening to me!? SECURITY GUARD Just take it easy, man! 64. WILL Don't be a hero, cowboy! SECURITY GUARD What the fuck does that mean? I'm not a hero! Or a cowboy! As people drop to the ground, whispering nervously to one ANOTHER - Chet rushes the TELLERS standing behind the bulletproof glass partition. CHET All of you, back away from the counter and get out here! Anyone pushes a button and one of these people gets totally shot! The Tellers hurry into the main area of the bank and get onto their stomachs. Will looks to the Guard. WILL Very slowly, take out your gun and toss it away. The Guard takes out his gun, lays it on the ground and shoves it away. The gun slides across the waxed floor and - Right into the outstretched hand of a sobbing MOM (40s), whose DAUGHTER (11) lies beside her in a soccer uniform. MOM Oh, god! I don't want the gun! WILL (TO GUARD) What the fuck!? Did you do that on purpose!? SECURITY GUARD It was an accident! CHET Are you guys working together? MOM No! Please take this gun away! WILL Just toss it, lady! 65. The Mom slides the gun away like it were on fire. It skids all the way across the floor, slams hard against a wall and BLAM! MAN'S VOICE (O.S.) Ah! A FAT MAN has been shot. He clutches his thigh. FAT MAN I think she got the femoral artery! MOM I'm sorry! It was an accident! FAT MAN Fuck you! Who slides a gun like that!? DAUGHTER Mommy, what's happening!? MOM Christi, be quiet. These men are dangerous. Chet turns ashen. He moves close to Will, whispers urgently - CHET This is fucked. That dude is gonna bleed out and we're gonna go to prison. WILL Just calm down. FAT MAN Why is no one getting me help!? WILL Is anyone here a doctor? Nothing. Just the heavy breathing of many frightened people. Will hurries over to the Fat Man, who is bent over, hugging his leg. WILL Sir, let me see where you're hit. FAT MAN Just call me an ambulance! WILL Calm down, sir. 66. The Fat Man sits up, removes his hand from his leg. Will nervously takes a look. There is only a small amount of blood. WILL It's just a flesh wound. You're gonna be okay. FAT MAN But it hurts so bad. WILL You got shot, man. It's not supposed to feel good. But you're gonna be fine. And you'll have a great story to tell everyone. FAT MAN This is an awful story! This isn't a bank error in my favor! I got shot! WILL Point taken. Luis, how we doing on the money? Chet snaps back to attention - CHET Oh, shit. Sorry, Cruz. Chet picks out the most harmless looking teller, a mousy 20- something girl, and helps her up off the ground. He checks her name tag: SANDRA. CHET Hey, Sandra. I know you're probably scared right now, but if you go grab us 100 grand in a bag, we'll get out of here. This will all be over and you'll be fine. You trust me? Sandra nods. Chet smiles, reassuringly. She hurries behind the counter, starts filling a bank bag with cash, as - FAT MAN My leg really hurts! WILL Can you please hurry up, Sandra!? Sandra emerges from behind the partition with the bank bag. Will grabs it. He takes a last look at the people spread across the floor. 67. WILL I'm really sorry, everyone. I know we probably fucked up your day. (looks to Fat Man) I'm thinking of you in particular, sir. Actually, you know what... Will crosses to the Fat Man, offers the bank bag. WILL Quickly. Peel a few bills. On me. Anyone rats him to the cops and I'm coming for you. I remember faces. The Fat Man hesitantly reaches for the bag. Opens it - Red Dye explodes all over his face. He shrieks. Chet whirls on the teller. CHET What the fuck was that about, Sandra? I thought we had something going! What happened to trust? SANDRA I'm sorry! They make us do it! WILL Could you kindly fill another bag? Not a bank bag. A fucking garbage bag. And Luis, will you watch her this time? Sandra hurries back behind the partition with Chet. He dumps out the contents of a trash can, grabs the bag and watches closely as Sandra stuffs it with cash. CHET Okay. That should be enough. Chet grabs the bag and hustles out toward Will. They are home free, until - They hear the wail of approaching sirens outside. They stop cold, panicked. Will whirls on the Tellers. WILL Fuck! Which one of you assholes tripped the alarm!? Was it you, Sandra!? SANDRA No! It was Mark! He pushed the button when you guys came in! Another teller, MARK, looks up from the floor. 68. MARK Sandra, you bitch! Now they're gonna kill us both! SANDRA Fuck you, Mark! You're the manager! Will loses his shit - WILL Fuck both of you! Fuck all of you! I'm a regular guy! Just like you! I'm a regular guy and you fucked me! Thank you for fucking a regular guy! People are freaked out. Sandra is crying, thinking she will probably get shot now. Chet grabs Will and pulls him toward the door. CHET Let's just get the fuck out of here. The guys slam through the doors, out into EXT. PARKING LOT, DONNER-WELLS NATIONAL BANK - DAY Just as a lone police cruiser screeches into the lot. Will and Chet make a run for it, but the cruiser cuts them off. OFFICER ZURMAN (21), a jittery rookie, jumps out of the cruiser and levels his gun. The guys reflexively level theirs. OFFICER ZURMAN Drop your weapons! CHET Don't shoot us! OFFICER ZURMAN Drop the guns or I'll have to! Chet looks at Will with utter desperation. In the distance, they hear the sirens of more cops approaching. Will tosses his gun, rips open his jacket and grabs a cluster of wires. WILL Fuck you! You just brought a gun to a bomb fight, officer! I pull these wires out and we all go! You got ten seconds to drop your gun and - Zurman doesn't stick around for the rest. He turns and sprints away. 69. As the guys make for the Datsun - CHET That was awesome. WILL He was tempting a desperate motherfucker. The guys jump in the Datsun and peel out as two more police cruisers race toward the bank. The cruisers change course and give chase. The Datsun blows right by the parked INT. MINIVAN - DAY Dwayne watches as the cars speed off into the distance. DWAYNE Holy shit! Our boy is causing some serious mayhem! JAY He's gonna get caught or killed. Dwayne whirls on Jay, punches him hard in the shoulder. DWAYNE Shut the fuck up! If you jinx this with your negativity, I'm gonna strap a bomb to your chest next. Jay massages his shoulder, pissed. JAY Oh, yeah, who's gonna build it? DWAYNE You are! EXT. STREET - DAY Whiplash blur as the three cars race by, one after the other. Airborne leaves flutter in their wake. INT./EXT. DATSUN - DAY - MOVING Chet freaks out as they hurtle toward lunchtime traffic. Will weaves in and out of cars. CHET Shit! This is not cool! Will is wild eyed, punching the gas. Chet's head is on a swivel. Behind them: police cruisers in hot pursuit. Up ahead: the world rushing at them at 80 mph, populated by nothing but potential collisions that will result in a fiery death. 70. CHET Maybe we should pull over and surrender. WILL I can outrun these guys. They're not the FBI, they're local cops. Just shut up and let me concentrate. I do this for a living. As they clip the side-view mirror off a Kia - CHET You don't do anything like this for a living! I am not a pizza, I am a man! The cruisers are gaining ground, throttles wide open. Will downshifts, spiking the RPMs into the red, as he banks a hard right and EXT. TOWN CENTER - DAY The Datsun explodes onto a crowded street. PEDESTRIANS crossing an intersection jump out of its way. The cruisers take the turn into town. One makes it. The other slams into parked cars. INT./EXT. DATSUN - DAY - MOVING Will jumps the curb to avoid slow-moving traffic, slams into a | steal | How many times the word 'steal' appears in the text? | 3 |